Professor Dorottya Fabian

Professor, Associate Dean Research Training
BMus (Hon), MMus, PhD
School of the Arts & Media

Contact

+61 2 9385 6954
+61 2 9385 6812
Room 103, Level 1, Robert Webster
Kensington Campus
Fields: Sensory Processes, Perception and Performance, Music, Music Performance, Musicology and Ethnomusicology
Tags: The performing arts (incl. music, theatre and danc

Dorottya gained my BMus (Hons) in musicology at the Ferenc Liszt Music Academy in Budapest (Hungary) and soon after she moved to Sydney and obtained an MMus and PhD from UNSW Australia. Her research lies at the interface of historical musicology / music performance and empirical musicology. So far she has published 2 monographes and two edited books as well as crtitical score editions, and over 30 peer-reviewed articles and book chapters. She is interested in supervising topics related to music performance, especially from a style-analytical, historical or cultural perspective.

In 2018 I'm recruiting doctoral sudents under UNSW's Scientia Scholarship scheme to work on a project titled "Musical Expression in Real Time - Interdisciplinary Approaches". It will be jointly supervised by Professor Emery Schubert. The supervision team will also include Professor Joe Wolfe.

Expressiveness in music is poorly understood because of the lack of interdisciplinary perspectives. The project will bring together musician, audience and composer perspectives to produce a ground breaking model of musical expression, exploiting the latest developments in continuous response measurement, allowing researchers to visualise the dynamic aspects of expressive playing and how it influences the listener in real time.  In addition to a deep understanding of performance and research, the successful candidate will bring a variety of skills in software data collection, processing and visualisation.  As a result, musicians will understand musical expression beyond current music theory and speculation.

 

Current PhD supervision:

Individual differences in musical performance: An empirical study of tempo variation in perofrmances of nineteenth-century piano music (Quan Danny Zhou)

Vocal practice in contemporary concert music (Ellen Hooper)

 

Past PhD supervision (primary and joint only):

Dramaturgical analysis of opera performance: four recent productions of Dido and Aeneas (Holly Champion, 2016)

Looking for trouble: Problem finding processes in literary creativity (Charlotte Wood, 2016)

Doing without thinking? Processes of decision-making in period-instrument performance (Daniel Bangert, 2015)

Afro-modernist compositional strategies in selected works by John Lewis: 1952-1962 (Christopher Coady, 2011)

Composing women and feminism at the turn of the twentieth century in England, France and Germany (Amanda Harris, 2008)

Ambiguity in nineteenth-century Russian literature and opera (Jennifer Butler, 2004)

 

ARC Discovery Grants:

2004-2009: Modelling expressiveness and emotion in Baroque and Romantic music (DP0452290

2008-2010: Artistic signatures in violin playing on sound recordings: What makes the performance of a prominent violinist recognizable and legendary? (DP0879616)

Research

My research focuses on changes in interpretations of Western Classical (concert) music as evidenced on commercial sound recordings. I study both the technical and expressive dimensions of interpretations and focus primarily on string, vocal and keyboard players and repertoires. I'm also interested in audience response, how and why taste and aesthetic preferences change, and the role of culture in all this. My approach embraces both quantitative, experimental and qualitative, empirical methods of investigation. See also:

https://unsw.academia.edu/DorottyaFabian

http://www.openbookpublishers.com/product/346/ - A Musicology of Performance: Theory and method based on Bach's Solos for violin (2015)

http://blog.oup.com/2014/03/expressiveness-in-music-psychology/ - Expressiveness in Music Performance: Empirical investigations across styles and cultures (2014)

http://www.ashgate.com/isbn/9780754605492 - Bach Performance practice 1945-1975: A comprehensive review of sound recording and literature (2003)

 

Supervision:

I have supervised many students in a range of topics and enjoy the interactions and intellectual stimulation, as well as the mentoring of young careers. Currently I'm looking for Honours and Higher Degree Research Students to work in the areas of

1. Early Music Movement / Historically Informed Performance of music in Australia (e.g. in Sydney in the 1970s or from the 1970s to today)

2. 19th-century practices of music performance (esp. voice, but also piano, violin) -- social history, reception history, empirical study of early recordings, individual musicians' art / practice

3. Staged performances of opera and the relationship between musical and theatrical meaning creation

Publications

    Books

    • Fabian D; Maddock S, (eds.), 2016, Roger Covell at 85: A Tribute by his Colleagues and Students, 1, School of the Arts and Media, UNSW Australia, Sydney
    • Fabian D, 2015, A Musicology of Performance: Theory and Method Based on Bach's Solos for Violin, 1, Open Book Publishers, Cambridge, UK, http://dx.doi.org/10.11647/OBP.0064
    • Fabian D; Timmer R; Schubert E, (eds.), 2014, Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures, 1, Oxford University Press, USA, Oxford, UK, http://dx.doi.org/10.1093/acprof:oso/9780199659647.001.0001
    • Fabian DS, (ed.), 2009, Musica: the Life and Times of the Great Composers (1000 years of classical Music), 1, Millennium House, Elanora Heights, NSW
    • Fabian DS, 2003, Bach performance practice 1945-1975: A comprehensive review of sound recordings and literature, 1, Ashgate, Aldershot

    Book Chapters

    • Fabian D, 2017, 'Performing music: Written traditions', in The Routledge Companion to Music Cognition, pp. 277 - 288, http://dx.doi.org/10.4324/9781315194738
    • Fabian D, 2017, 'Historical Performance Practice at the beginning of the new millennium', in Harer I; Rottensteiner G (ed.), Wissenschaft und Praxis – Altes und Neues. Festschrift 50 Jahre Institut 15: Alte Musik und Aufführungspraxis an der Kunstuniversität Graz, edn. 1, Leykam, Graz, pp. 131 - 143
    • Fabian D, 2016, 'A Tribute to Roger Covell', in Fabian D; Maddock S (ed.), Roger Covell at 85: A Tribute by his Colleagues and Students, edn. 1, School of the Arts and Media, UNSW Australia, Sydney, pp. 2 - 6
    • Schubert E;Fabian D, 2014, 'A taxonomy of listeners' judgments of expressiveness in music performance', in Fabian D; Timmers R; Schubert E (ed.), Expressiveness in Music Performance, Oxford University Press, pp. 283 - 303
    • Fabian D;Timmers R;Schubert E, 2014, 'Afterthought', in Fabian D; Timmers R; Schubert E (ed.), Expressiveness in Music Performance: Empirical approaches across styles and cultures, edn. 1, Oxford University Press, Oxford, pp. 353 - 356, http://ukcatalogue.oup.com/product/9780199659647.do
    • Fabian D;Timmers R;Schubert E, 2014, 'Introduction: Expressiveness in music Performance', in Fabian D; Timmers R; Schubert E (ed.), Expressiveness in Music Performance: Empirical approaches across styles and cultures, edn. 1, Oxford University Press, Oxford, pp. xxi - xxx, http://ukcatalogue.oup.com/product/9780199659647.do
    • Fabian D, 2014, 'Commercial Sound Recordings and Trends in Expressive Music Performance: Why should experimental researchers pay attention?', in Fabian D; Timmers R; Schubert E (ed.), Expressiveness in music performance: empirical approaches across styles and cultures, edn. 1, Oxford University Press, Oxford, UK, pp. 58 - 79, http://ukcatalogue.oup.com/product/9780199659647.do
    • Fabian DS, 2008, 'Classical Sound Recordings and Live Performances: Artistic and Analytical Perspectives', in Dogantan-Dack M (ed.), Recorded Music: Philosophical and Critical Reflections, edn. 1, Middlesex University Press, London, pp. 232 - 260
    • Fabian DS, 2006, 'The merits of archival research in music: reviews of Bach Awakening in England and Musical Entries at Stationers` Hall 1710-1818', in Musicology Australia, edn. Original, Musicological Society of Australia, Kensington, NSW, pp. 128 - 131
    • Fabian DS, 2005, 'Towards a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations', in Vikárius L; Lampert V (ed.), Essays in Honor of Laszlo Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, edn. 1, Scarecrow press, Lanham, Maryland (USA), pp. 87 - 108
    • Schubert E;Fabian DS, 2005, 'An experimental investigation of musical character portrayed by piano versus harpsichord performances of a J. S. Bach excerpt', in Mackinlay E; Collins D; Owens S (ed.), Aesthetics and Experience in Music Performance Proceedings of the Musicological Society of Australia National Workshop Brisbane October 2003, edn. 1, Cambridge Scholars Publishing, Newcastle, UK, pp. 70 - 84
    • Fabian DS, 2000, 'Novotny,Franz Anton', in The New Grove Dictionary of Music and Musicians Volume 18, edn. Original, Macmillan Press, London, pp. 222 - 223
    • Fabian DS, 1996, 'A Bach-interpretacio valtozo stilusa:Goldberg-variaciok 1945-1978', in Zenetudomanyi tanulmanyok Kroo Gyorgy tiszteletere, edn. Original, Magyar Zenetudomanyi es Zenekritikai Tarsasag, Budapest, pp. 26 - 41

    Journal articles

    • Fabian D, 2017, 'Performers, Composers, Scores and Editions: Commentary on Huisman, Gingras, Dhondt, and Leman', Empirical Musicology Review, vol. 12, pp. 72 - 74, http://dx.doi.org/10.18061/emr.v12i1-2.5244
    • Bangert D;Schubert E;Fabian D, 2015, 'Practice thoughts and performance action: Observing processes of musical decision-making', Music Performance Research, vol. 7, pp. 27 - 46, http://mpr-online.net/Issues/Volume%207%20%5B2015%5D/MPR0092%20Bangert,%20Schubert%20and%20Fabian%20(2015).pdf
    • Bangert D;Schubert E;Fabian D, 2014, 'A spiral model of musical decision-making', Frontiers in Psychology, vol. 5, http://dx.doi.org/10.3389/fpsyg.2014.00320
    • Bangert D;Fabian D;Schubert E;Yeadon D, 2014, 'Performing solo Bach: A case study of musical decision-making', Musicae Scientiae, vol. 18, pp. 35 - 52, http://dx.doi.org/10.1177/1029864913509812
    • Fabian DS, 2013, 'Ornamentation in Recent Recordings of J.S. Bach’s Solo Sonatas and Partitas for Violin', Min-Ad: Israel Studies in Musicology Online, vol. 11, pp. 1 - 21, http://www.biu.ac.il/hu/mu/min-ad/
    • Fabian DS;Sung A, 2011, 'Variety in Performance: A comparative Analysis of Recorded Performances of Bach’s Sixth Suite for Solo Cello from 1961 to 1998', Empirical Musicology Review, vol. 6, pp. 23 - 42
    • Fabian D;Schubert E;Pulley R, 2010, 'A baroque traumerei: The performance and perception of two violin renditions', Musicology Australia, vol. 32, pp. 27 - 44, http://dx.doi.org/10.1080/08145851003793986
    • Fabian D;Schubert E, 2010, 'A new perspective on the performance of dotted rhythms', Early Music, vol. 38, http://dx.doi.org/10.1093/em/caq079
    • Fabian DS, 2010, 'Quantifying the Use of Dynamics in Western Keyboard Music: Lessons and Problems', Empirical Musicology Review, vol. 5, pp. 112 - 114, https://kb.osu.edu/dspace/bitstream/1811/47562/1/EMR000086b-Fabian.pdf
    • Fabian DS;Schubert E;Pulley R, 2010, 'A Baroque Traumerei: The performance and perception of two violin renditions', Musicology Australia, vol. 32, pp. 25 - 42
    • Fabian DS;Ornoy E, 2009, 'Identity in Violing Playing on Records', Performance Practice Review, vol. 14, pp. 1 - 40
    • Fabian DS;Schubert E, 2009, 'Baroque expressiveness and stylishness in three recordings of the D minor Sarabanda for Solo Violin', Music Performance Research, vol. 3, pp. 36 - 56, http://mpr-online.net/Issues/Volume%203%20%5B2009%5D/MPR0019%20Fabian%20&%20Schubert%20Final%20Web%20Version.pdf
    • Fabian D;Schubert E, 2008, 'Musical character and the performance and perception of dotting, articulation and tempo in 34 recordings of variation 7 from J.S. Bach's Goldberg Variations (BWV 988)', Musicae Scientiae, vol. 12, pp. 177 - 206
    • Fabian D, 2006, 'The recordings of Joachim, Ysaye and Sarasate in light of their reception by nineteenth-century British critics (Joseph Joachim, Pablo Sarasate, Eugene Ysaye)', INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC, vol. 37, pp. 189 - 211, http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000244415900005&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=891bb5ab6ba270e68a
    • Schubert E;Fabian D, 2006, 'The dimensions of baroque music performance: A semantic differential study', Psychology of Music, vol. 34, pp. 573 - 587, http://dx.doi.org/10.1177/0305735606068105
    • Fabian DS, 2006, 'Is diversity in Musical Performance Truly in Decline? The Evidence of Sound Recordings', Context, vol. 31 (2006), pp. 165 - 180
    • Fabian DS, 2006, 'The recordings of Joachim, Ysaÿe and Sarasate in light of their reception by nineteenth-century British critics', International Review of the Aesthetics and Sociology of Music, vol. 37, pp. 189 - 211
    • Fabian DS, 2004, 'Adalekok J.S. Bach szolo hegeduszonatainak es -partitainak eloadastortenetehez [Towards a performance history of J.S. Bach`s sonatas and partitas for solo violin]', Magyar Zenei Tanacs (Hungarian Music Council), vol. 42, pp. 311 - 335
    • Fabian D;Schubert E, 2003, 'Expressive devices and perceived musical character in 34 performances of Variation-7 from Bach's 'Goldberg Variations'', MUSICAE SCIENTIAE, pp. 49 - 71, http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000188261200003&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=891bb5ab6ba270e68a
    • Fabian DS;Schubert E, 2002, 'Preference and perception in dotted 6/8 patters by experienced and less experienced baroque music listeners.', Journal of Music Perception and Cognition, vol. 7, pp. 113 - 132
    • Fabian D, 2001, 'The meaning of authenticity and the early music movement - A historical review', INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC, vol. 32, pp. 153 - 167, http://dx.doi.org/10.2307/1562264
    • Fabian DS, 2000, 'Musicology and performance practice: in search of a historical style with Bach recordings', Studia Musicologica Academiae Scientiarum Hungaricae, pp. 77 - 106
    • Fabian DS, 2000, 'The nature of Nordicism: Grainger`s `blue-gold-rosy-race` and his music', Musicology Australia, pp. 19 - 48
    • Fabian DS, 1997, 'Changing Style in Performing J.S. Bach`s Music, 1945-1978: The Goldberg Variations', The Consort, pp. 23 - 39

    Conference Papers

    • Bangert D;Fabian D;Schubert E, 2013, 'Doing without thinking? Aspects of musical decision-making revisited', in Williamon A; Goebl W (eds.), Proceedings of the International Symposium on Performance Science, European Association of Conservatoires (AEC), Vienna, pp. 201, presented at International Symposium on Performance Science, Vienna, 28 - 31 August 2013
    • Bangert D;Schubert E;Fabian D, 2010, 'Historically informed practice: Musical decision-making in Baroque violin music', in Demorest SM; Morrison SJ; Campbell PS (eds.), ICMPC11: 11th International Conference of Music Perception and Cognition, Causal Productions, Seattle, Washington USA, pp. 313 - 314, presented at ICMPC11: 11th International Conference of Music Perception and Cognition, Seattle, Washington USA, 23 - 27 August 2010
    • Bangert D;Schubert E;Fabian D, 2009, 'Decision making in unpracticed and practiced performances of Baroque violin music', in Stevens C; Schubert E; Kruithof B; Buckley K; Fazio S (eds.), Proceedings of the 2nd International Conference on Music Communication Science (ICoMCS2), HCSNet, University of Western Sydney, University of New South Wales, pp. 3 - 6, presented at 2nd International Conference on Music Communication Science, University of New South Wales, 03 - 04 December 2009
    • Fabian DS, 2009, 'Diversity and Homogeneity in Contemporary Recordings of Solo Bach', in Proceedings of the International Symposium on Performance Science, European Association of Conservatoires (AEC), Utrecht, The Netherlands, presented at International Symposium on Performance Science, 01 January 2009
    • Fabian DS;Schubert E, 2006, 'Parameters distinguishing Baroque and Romantic Performance', in Demorest SM; Morrison SJ; Campbell PS (eds.), ICMPC11 -- 11th International Conference of Music Perception and Cognition, Causal Productions, Seattle, Washington USA, pp. 226 - 227, presented at ICMPC11 -- 11th International Conference of Music Perception and Cognition, Seattle, Washington USA, 22 - 26 August 2006
    • Fabian DS;Schubert E, 2006, 'Perception of dotted rhythms: discovery of an auditory illusion', in Velichkovsky B; Chernigovskaya T; Alexandrov Y; Akhapkin D (eds.), 2nd Biennial Conference on Cognitive Science, 2nd Biennial Conference on Cognitive Science, St Petersburg, Russia, pp. 54 - 55, presented at 2nd Biennial Conference on Cognitive Science, St Petersburg, Russia, 09 - 13 June 2006
    • Schubert E;Fabian DS, 2005, 'Time shrinking as an explanation of the Kerning Illusion', in Chang S-H; Chong H-J (eds.), 2nd International Conference of Asia-Pacific Society for the Cognitive Science of Music (APSCOM2), 2nd International Conference of Asia-Pacific Society for the Cognitive Science of Music (APSCOM2), Seoul, South Korea, pp. 28 - 28, presented at 2nd International Conference of Asia-Pacific Society for the Cognitive Science of Music (APSCOM2), Seoul, South Korea, 04 - 06 August 2005
    • Fabian DS;Schubert E, 2004, 'Performerd and perceived dotting are different: Implications for performance practice and pedagogy', in Parncutt R; Kessler A; Zimmer F (eds.), CIM04, CIM04, University of Graz, Graz, Austria, pp. 74 - 75, presented at CIM04, University of Graz, Graz, Austria, 15 - 18 April 2004
    • Fabian DS, 2004, 'Bach performance practice in the twentieth century: recordings, reviews and reception', in 9th Biennial Conference on Baroque Music, 9th Biennial Conference on Baroque Music, Dublin, Ireland, presented at 9th Biennial Conference on Baroque Music, Dublin, Ireland, 12 - 16 July 2000
    • Schubert E;Fabian D, 2003, 'Measuring musical character: A preliminary investigation', in AUSTRALIAN JOURNAL OF PSYCHOLOGY, AUSTRALIAN PSYCHOLOGICAL SOC, pp. 91 - 91, http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:000186983200397&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=891bb5ab6ba270e68a
    • Schubert E;Fabian DS, 2003, 'Expressiveness in musical performance: comparison of novice and expert-listener perspectives', in ESCOM5: Experience Music in Science, Science in Music, ESCOM5: Experience Music in Science, Science in Music, Hanover, University of Music and Drama, presented at ESCOM5: Experience Music in Science, Science in Music, Hanover, University of Music and Drama, 08 - 13 September 2003
    • Fabian DS;Schubert E, 2003, 'Resolving the historical dotting debate: How empirical investigations may inform performance practice', in ESCOM5: Experience Music in Science, Science in Music, ESCOM5: Experience Music in Science, Science in Music, Hanover, University of Music and Drama, presented at ESCOM5: Experience Music in Science, Science in Music, Hanover, University of Music and Drama, 08 - 13 September 2003
    • Fabian DS;Schubert E, 2002, 'Bach and overdotting: how empirical investigations can inform performance practice.', in Britta M; Melen M (eds.), Musical Creativity, Musical Creativity, University of Liege, presented at Musical Creativity, University of Liege, 05 - 08 April 2002
    • Fabian DS;Schubert E, 2002, 'Listening to Bach: musical performance features and the perception of expressiveness in Baroque music.', in Stevens C; Burnham D; McPherson G; Schubert E; Renwick J (eds.), Proceedings of the 7th International Conference on Music Perception and Cognition, IAEA2002, Tarakazuka, Japan, pp. 463 - 468, presented at IAEA2002, Tarakazuka, Japan, 04 - 08 August 2002
    • Fabian DS, 2002, 'Dotting your ears: some implications of the kerning illusion in the study of performance practice.', in Proceedings of the 7th International Conference on Music Perception and Cognition, ICMPC7: 7th International Conference on Music Perception and Cognition, University of New South Wales, presented at ICMPC7: 7th International Conference on Music Perception and Cognition, University of New South Wales, 17 - 21 July 2002
    • Fabian DS;Schubert E, 2002, 'Is there only one way of being expressive in musical performance? - Lessons from listeners` reactions to performance of J. S. Bach`s music.', in Proceedings of the 7th International Conference on Music Perception and Cognition, ICMPC7: 7th International Conference on Music Perception and Cognition, University of New South Wales, presented at ICMPC7: 7th International Conference on Music Perception and Cognition, University of New South Wales, 17 - 21 July 2002
    • Schubert E;Fabian DS, 2000, 'The perception of dotted rhythms and the kerning illusion', in 6th International Conference on Music Perception and Cognition, 6th International Conference on Music Perception and Cognition, presented at 6th International Conference on Music Perception and Cognition, 01 January 2000
    • Fabian DS;Schubert E, 2000, 'The multi-dimensional perception space of baroque music', in 6th International Conference on Music Perception and Cognition, 6th International Conference on Music Perception and Cognition, presented at 6th International Conference on Music Perception and Cognition, 01 January 2000

    Other

    • Fabian D (ed.), 2016, Elliott Gyger's opera Fly Away Peter, School of the Arts and Media, UNSW, Sydney

    Conference Presentations

    • Fabian D, 2016, '“The Music”: Analysing the performer in the work with a lead from Gilles Deleuze.', presented at Music as Art, Artefact and Fact - Symposium of the International Musicological Society, Stavanger, Norway, 01 - 06 July 2016, https://www.uis.no/samfunn-og-naeringsliv/konferanser/music-as-art-artefact-and-fact/
    • Fabian D, 2016, 'A preliminary history of UNSW Opera', presented at Roger Covell's 85th Celebration and Symposium, School of the Arts and Media, UNSW Australia (Webster building), 05 - 05 March 2016
    • Fabian D, 2015, 'Towards a holistic and multi-cultural analysis of performance', presented at 3rd Biennial Conference of the East-Asia Regional Association of the International Musicological Society, University of Hong Kong, HK, 04 - 06 July 2015, http://imsea2015.wix.com/home
    • Fabian D, 2015, 'Violinists’ dialogue with tradition: The current state of performing Solo Bach', presented at Musical Dialogues - National Conference of the Musicological Society of Australia, Sydney Conservatorium of Music, Sydney (Australia), 01 - 04 October 2015, http://music.sydney.edu.au/research/special-research-events/msa-conference-2015/
    • Fabian D, 2015, 'A Musicology of Performance? Complex Systems and the Non-linearity of Expressive Variation', presented at Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, Royal Northern College of Music; Manchester, UK, 17 - 22 August 2015, https://www.facebook.com/events/1612113169027568/
    • Fabian D, 2015, 'Analysing classical music performance: how limiting are audio-only approaches?', presented at International Conference on Multimodal Experience of Music, Sheffield University, 23 - 25 March 2015, https://www.sheffield.ac.uk/music/research/researchcentres/mmm/icmem

    Recorded / Rendered Creative Works

    • Fabian DS, 2006, Bach: Violin Concertos -- liner notes, Video

    Conference Abstracts

    • Fabian D, (eds.), 2016, 'A preliminary history of UNSW Opera', in Roger Covell at 85: A Tribute by his Colleagues and Students, School of the Arts and Media, UNSW Australia, School of the Arts and Media, UNSW Australia (Webster building), Vol. 1, pp. 14 - 14, presented at Roger Covell's 85th Celebrations and Symposium, School of the Arts and Media, UNSW Australia (Webster building), 05 - 05 March 2016

Teaching

Dorottya Fabian's main teaching area is musicology. In the undergraduate program she is in charge of courses in European music history focusing on the 18th-19th centuries, and of research methods and honours preparatory classes. Currrently she teaches the upper-level core courses in history and culture of music, the gateway course in the Music Inquiry stream of the BMus degree and contributes to the courses in creative practice / performance. Over the years she has taught aural development at all levels, harmony, analysis, performance practice, keyboard studies and orchestration as well, and has coached many chamber ensembles, including the Handbell group.

 

Honours and prizes

10th Anniversary Award of the European Society for the Congnitive Sciences of Music (ESCOM 2003)

Professional contribution

She is regularly invited to serve on review panels of tertiary institutions offering degrees in music; to assess dissertations, grant and fellowship applications, to review journal articles and conference submissions and to be on scientific and organizing committees of international music performance and music psychology conferences. In September 2015 she waas elected to the editorial board of Musicae Scientiae for a 3-year term. She has been playing a key role in the activities of the Musicological Society of Australia's Sydney Chapter, formerly as chapter Convenor and more recently as mentor of the annual student presentations day and the annual staff symposium day.

Affiliations and membership

Fellow, Australian Academy of Humanities

Staff Elected Professorial member of UNSW Academic Board (2017-2019)

Member of Editorial Board, Musicae Scientiae

Past Editor, Musicology Australia (2012); 
Former Member of UNSW Council (2014-2016)

https://unsw.academia.edu/DorottyaFabian

Related links

Other information

Dorottya Fabian regularly writes liner notes for CDs released by ABC Classics and presents public lectures at music festivals. During 2004-5 she was National Secretary of the Musicological Society of Australia. For many years she served as Convenor of the Society's Sydney Chapter. During 2012 she was Editor of the Society's peer-reviewed journal, Musicology Australia. She was also a member of the International Advisory Panel of CHARM, the AHRB Research Centre for the History and Analysis of Recorded Music (Royal Holloway, University of London).
In 2010-2011 she was Visiting Fellow at Clare Hall, Cambridge University. In 2012 she became Life Member of Clare Hall.