Dr. Markus Neuwirth

Markus Neuwirth is a Postdoctoral Researcher at the Digital and Cognitive Musicology Lab of the École polytechnique fédérale de Lausanne (EPFL). At EPFL he is conducting a research project titled “From Bach to the Beatles – Exploring Compositional Building Blocks and Musical Style Change with Hermeneutic and Computational Methods” funded by the Volkswagen Foundation (2018–2020, together with Martin Rohrmeier as Co-PI). In this context, he is also responsible for the creation of harmonically and contrapuntally annotated musical corpora in machine-readable format. Previously he held a Postdoctoral Fellowship from the Research Foundation Flanders at Leuven University (2013–2016), where he obtained his PhD in musicology in 2013 (“Recomposed Recapitulations in the Sonata-Form Movements of Joseph Haydn and His Contemporaries”). Before joining the Musicology Department at Leuven University in 2007, Neuwirth studied musicology, psychology, and philosophy at the University of Würzburg (20012006).

Neuwirth is co-editor of the international, peer-reviewed journal Music Theory and Analysis as well as the general editor of the GMTH Proceedings (peer-reviewed). In 2018, he served at the editorial board (review editor) of the journal Frontiers in Digital Humanities (Digital Musicology). Together with Felix Diergarten, Neuwirth published a new Formenlehre of music (Laaber, 2019). In addition, he is the co-editor (with Pieter Bergé) of the volume “What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire” (Leuven University Press, 2015) that received the Outstanding Multi-Author Collection Award 2018 from the Society for Music Theory; the volume also contains Danuta Mirka’s “The Mystery of the Cadential Six-Four” that won the Roland Jackson Award 2017 (American Musicological Society). In 2013, Neuwirth was a guest editor of a special issue on musical expectancy (Zeitschrift der Gesellschaft für Musiktheorie). Furthermore, he has published widely on musical corpus research, on various sonata-form issues in the works of Haydn and his contemporaries, on cognitively oriented music analysis, and on the relationship between hypermetric analysis and music performance.

Among the events that Neuwirth organized are conferences on the classical cadence (Academia Belgica, Rome 2011), music semantics (EPFL, 2017), voice-leading schemata and corpus research (EPFL, 2018) as well as panel sessions on musical corpus research and Formenlehre (European Conference of Music Analysis, Leuven 2014), voice-leading schemata (EuroMAC, Strasbourg 2017), and the analysis of film music (annual GfM conference, Kassel 2017). Neuwirth worked as a reviewer for a variety of journals, publishers, and funding bodies, including Oxford University Press, the Journal of the American Musicological Society, Musicae Scientiae, and Music Theory Online.



Diergarten, F. and Neuwirth, M. (2019). Formenlehre. Ein Lese- und Arbeitsbuch zur Instrumentalmusik des 18. und 19. Jahrhunderts (= Grundlagen der Musik, vol. 7). Laaber: Laaber.

Edited Volumes and Special Issues

Neuwirth, M. and Bergé, P. (2015). What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Leuven: Leuven University Press [Outstanding Multi-Author Collection Award 2018 from the Society for Music Theory].

Neuwirth, M., Utz, Chr., Rohringer, S., and Sprick, J.P. (2013). Musical Expectancy. Special Issue in the Zeitschrift der Gesellschaft für Musiktheorie (ZGMTH) 10/2.

Journal Articles and Contributions to Peer-Reviewed Proceedings

Moss, F. C., Neuwirth, M., Harasim, D., and Rohrmeier, M. (2019). “Statistical Characteristics of Tonal Harmony: A Corpus Study of Beethoven’s String Quartets.” PLoS ONE 14(6), e0217242 (https://doi.org/10.1371/journal.pone.0217242).

Popescu, T., Neuser, M. P., Neuwirth, M., Bravo, F., Mende, W., Boneh, O., Moss, F. C., and Rohrmeier, M. (2019). “The Pleasantness of Sensory Dissonance is Mediated by Musical Style and Expertise.” Nature Scientific Reports 9:1070 (DOI:10.1038/s41598-018-35873-8).

Neuwirth, M. (2018). “Key Concepts for the Theory and Analysis of Music from the Classical Period.” In A-R Online Music Anthology. Music Theory Overview Articles. Ed. by N. Newton and J. Zychowicz.

Neuwirth, M., Harasim, D., Moss, F.C., and Rohrmeier, M. (2018). “The Annotated Beethoven Corpus (ABC): A Dataset of Harmonic Analyses of All Beethoven String Quartets.” Frontiers in Digital Humanities 5:16.

Finkensiep, Chr., Neuwirth, M., and Rohrmeier, M. (2018). “Generalized Skipgrams for Pattern Discovery in Polyphonic Streams.” In Proceedings of the 19th International Society for Music Information Retrieval Conference (ISMIR), Paris 2018. Ed. E. Benetos, E. Gómez, X. Hu, and E. Humphrey, 547-553.

Neuwirth, M. and Rohrmeier, M. (2016). “Wie wissenschaftlich muss Musiktheorie sein? Chancen und Herausforderungen musikalischer Korpusforschung.” Zeitschrift der Gesellschaft für Musiktheorie 13/2, 17193.

Neuwirth, M. (2015). “Is There a ‘Musical Task’ in the First Movement of Haydn’s ‘Oxford’ Symphony? Voice-leading Schemata and Intrinsic Formal Functions.” Music Theory and Analysis 2/2, 194203.

Neuwirth, M. (2013). “Surprise Without a Cause? ‘False Recapitulations’ in the Classical Repertoire and the Modern Paradigm of Sonata Form.” Zeitschrift der Gesellschaft für Musiktheorie 10/2, 25991.

Neuwirth, M. (2011). “Joseph Haydn’s ‘Witty’ Play on Hepokoski and Darcy’s Elements of Sonata Theory.” Zeitschrift der Gesellschaft für Musiktheorie 8/1, 199220.

Neuwirth, M. (2010). “Does a ‘Monothematic’ Expositional Design have Tautological Implications for the Recapitulation? An Alternative Approach to ‘Altered Recapitulations’ in Haydn.” Studia Musicologica 51/3-4, 36985.

Neuwirth, M. (2009). “Taktgruppenmetrische Ambiguität in zwei Klaviersonaten Beethovens: Vom Nutzen und Nachteil analytischer Ratschläge für die aufführungspraktische Interpretation.” Dutch Journal of Music Theory 14/1, 5161.

Neuwirth, M. (2009). “Der mediantische Reprisenübergang bei Joseph Haydn und einigen seiner Zeitgenossen zwischen Konvention und Normverstoß. Satztechnische Inszenierung, formale Implikationen und Erklärungsmodelle.” Zeitschrift der Gesellschaft für Musiktheorie 6/2-3, 23171.

Contributions to books

Neuwirth, M. (2018). “Von Wallerstein nach Bonn. Joseph Reichas Harmoniemusik, Beethovens Bläseroktett op. 103 und die Frage des Stiltransfers.” In Beethoven und andere Hofmusiker seiner Generation (Schriften zur Beethoven-Forschung, vol. 1). Ed. B. Lodes, E. Reisinger, and J.D. Wilson. Bonn: Verlag Beethoven-Haus, 253–70.

Rohrmeier, M. and Neuwirth, M. (2015). “Towards a Syntax of the Classical Cadence.” In What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Ed. M. Neuwirth and P. Bergé. Leuven: Leuven University Press, 287–338.

Neuwirth, M. (2015). “Fuggir la cadenza, or the Art of Avoiding Cadential Closure: Physiognomy and Functions of Deceptive Cadences in the Classical Repertoire.” In What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Ed. M. Neuwirth and P. Bergé. Leuven: Leuven University Press, 117–56.

Neuwirth, M. (2014). “Einführung in die taktgruppenmetrische Analyse.” In Musikalische Analyse: Begriffe, Geschichten, Methoden (= Grundlagen der Musik, vol. 8). Ed. F. Diergarten. Laaber: Laaber, 7593.

Neuwirth, M. (2011). “Re-investigating the Primary-Theme Zone in Haydn’s Early Symphonies – Periods, Sentences, Loops, and Their Temporal Implications.” In Zyklus und Prozess: Joseph Haydn und die Zeit. Ed. M. Eybl, M.-A. Dittrich, and R. Kapp. Vienna: Böhlau, 237–74.

Neuwirth, M. (2010). “Taktgruppenmetrische Ambiguität bei Beethoven. Konsequenzen metrischer Analyse für die aufführungspraktische Interpretation des Finalsatzes der Klaviersonate op. 31,2.” In Musiktheorie als interdisziplinäres Fach. 8. Kongress der Gesellschaft für Musiktheorie Graz 2008. Ed. Chr. Utz. Saarbrücken: PFAU, 335–49.

Neuwirth, M. (2010). “Implication-Realization Model,” “Rhythmus, harmonischer,” “Stratifikation (Musikalisch),” “Sonatensatzform.” In Lexikon der Systematischen Musikwissenschaft (= Handbuch der Systematischen Musikwissenschaft, vol. 6). Eds. H. de la Motte-Haber, H. von Loesch, G. Rötter, and Chr. Utz. Laaber: Laaber, 185, 41011, 456, 43234.

Neuwirth, M. (2009). “Verschleierte Reprisen bei Joseph Haydn. Über einige Fragwürdigkeiten eines anachronistischen Sonatenform-Paradigmas.” In Joseph Haydn (1732-1809) (= Memoria, vol. 11). Ed. S. Urmoneit. Berlin: Weidler, S. 33–66.

Neuwirth, M. (2009). “Reprisenphänomene in den frühen Streichquartetten Joseph Haydns und Franz Asplmayers. Anmerkungen zu einem anachronistischen Sonatenform-Paradigma.” In Kammermusik im Übergang vom Barock zur Klassik (= Schloss Engers. Colloquia zur Kammermusik, vol. 5). Ed. Chr. H. Mahling. Mainz: Villa Musica Rheinland Pfalz, 95–124.

Neuwirth, M. (2008). “Strukturell vermittelte Magie: Kognitionswissenschaftliche Annäherungen an Helmut Lachenmanns Pression und Allegro Sostenuto.” In Musik als Wahrnehmungskunst: Untersuchungen zu Kompositionsmethodik und Hörästhetik bei Helmut Lachenmann. Ed. Chr. Utz and C. Gadenstätter. Saarbrücken: PFAU, 73–100.

Neuwirth, M. (2008). “Das Konzept der Expektanz in der musikalischen Analyse: Möglichkeiten und Probleme einer kognitiv orientierten Musikanalyse.” In Musiktheorie im Kontext. 5. Kongress der Gesellschaft für Musiktheorie. Hamburg 2005. Ed. J. Ph. Sprick, R. Bahr, and M. von Troschke. Berlin: Weidler, 557–73.

Neuwirth, M. (in press). “Melody.” In Cambridge Haydn Encyclopedia. Eds. C. Clark and S. Day-O’Connell. Cambridge: Cambridge University Press, 209-13.

Neuwirth, M. (May, 2019), “Mittelzäsur oder förmliche Cadenz? Das Problem des mehrfachen Schließens in den Sonatenexpositionen Haydns, Kozeluchs und Pleyels.” Musik-Konzepte. Ed. F. Kraemer and S. Wegner. Munich: edition text+kritik.

Neuwirth, M. (in press). “Leopold Kozeluhs Klaviersonaten und die galante Musikästhetik: Stilistische Simplizität und formale Komplexität.” In Saarbrücker Studien zur Musikwissenschaft 20. Ed. S. Klauk. Sinzig: StudioVerlag.

Neuwirth, M. (forthcoming, 2019). “Is There an Implicit Formenlehre in Fedele Fenaroli’s Solfeggi? Punctuation Schemes, Formal Functions, and Voice-leading Schemata.” In Neapolitan Musical Pedagogy of the Eighteenth Century: Theory, Sources and Reception. Ed. C. Bacciagaluppi and M. Laterza. Bern: Lang.

Neuwirth, M. (forthcoming). “Durch Nacht zum Licht (und zurück in die Nacht): Formstrategien, dramaturgische Funktionen und semantische Implikationen der Duraufhellung in Reprisen klassischer Moll-Sonatenformen.” In Dur vs. Moll – Zum semantischen Potenzial eines musikalischen Elementarkontrasts. Ed. H.-J. Hinrichsen and S. Keym. Vienna: Böhlau.

Neuwirth, M. (forthcoming). “Kraus, Joseph Martin,” “Kozeluch, Leopold,” “Mozart, Wolfgang Amadeus,” “Pleyel, Ignaz,” “Rosetti, Anton.” In Lexikon des Orchesters. Eds. F. Heidlberger, G. Schröder, and Chr. Wünsch. Laaber: Laaber.

Neuwirth, M. (forthcoming). “Belgien,” “Luxemburg,” “Niederlande.” In Lexikon des Orchesters. Eds. F. Heidlberger, G. Schröder, and Chr. Wünsch. Laaber: Laaber.

Reviews and Reports

Neuwirth, M. (2015). “Matthew Riley: The Viennese Minor-Key Symphony in the Age of Haydn and Mozart, Oxford: Oxford University Press, 2014.” Eighteenth-Century Music 12/2, 24144.

Neuwirth, M. (2015). “D. A. Hanninen: A Theory of Music Analysis. On Segmentation and Associative Organization.” Die Musikforschung 68/1, 98100.

Neuwirth, M. (2008). “Robert Gjerdingen, Music in the Galant Style, Oxford University Press 2007.” Zeitschrift der Gesellschaft für Musiktheorie 5/2-3, 40109.

Neuwirth, M. (2007). “C. Bullerjahn, H. Gembris, A.C. Lehmann (Hrsg.), Musik: gehört, gesehen und erlebt.” Jahrbuch der Deutschen Gesellschaft für Musikpsychologie 19 (= Musikpsychologie: Musikalische Sozialisation im Kindes- und Jugendalter), 16365.

Neuwirth, M. (2005). “David Temperley, The Cognition of Basic Musical Structures, Cambridge, Mass.: The MIT Press 2001.” Zeitschrift der Gesellschaft für Musiktheorie 2/2-3, 30419.

Neuwirth, M. and M. Giuggioli (2016). “Report on Instrumentalmusik ‘neben’ Haydn und Mozart: Analyse, Aufführungspraxis und Edition, Universität des Saarlandes, 18-19 February 2016.” Eighteenth-Century Music 13/2, 34043.


Phone +41 21 69 31910
E-mail markus.neuwirth@epfl.ch
Postal address EPFL CDH DHI DCML
INN 136 (Bâtiment INN)
Station 14
CH-1015 Lausanne
Office INN 136