Fabio Morabito, PhD
Assistant Professor, Faculty of Arts - Music Dept
Fabio Morabito joined the Department of Music at the University of Alberta in 2020, as Assistant Professor of Musicology. He was the Lord Crewe Junior Research Fellow in Music at the University of Oxford (2017-2020), and previously taught at Durham University and Kings College London, where he completed his PhD in historical musicology. The dissertation won the Ralph Gibson Award of the Society for the Study of French History. His earlier trainings in music and musicology took place at the University of Pavia-Cremona, in Italy, and the Hochschule für Musik Franz Liszt Weimar, in Germany.
Fabio’s research focuses on cultures of Western art music in the late 18th and early 19th century, exploring issues of canon formation and the origins of celebrity (for instance, how musicians engaged with ever-wider publics); music and cultures of sociability; music collecting and annotating; and the role played by musicologies of the past and the present in shaping musical identities. Other interests include ideals of 18th- and 19th-century chamber music; concepts of modern musical authorship; materiality; "new historicism" and historiography; and the history and future of the humanities. His most recent articles are out in the 2022, 2021 and 2020 issues of 19th-Century Music, Music & Letters and the Journal of Musicology, and he is at work on a monograph entitled “Making the Modern Composer,” which considers both canonical and non-canonical figures of the nineteenth century in their attempts to “make themselves” in the eyes and ears of the public and posterity. Fabio was the Principal Investigator of the project 19th-Century Musicians as Annotators (University of Oxford 2019-21) funded by the British Academy and fostering collaborative research between music historians, historians of the book and the British Library.
F. Morabito and L. de Raymond (eds.), Antoine Reicha and the Making of the Nineteenth-Century Composer (Bologna: Ut Orpheus, 2021).
Articles in peer-reviewed journals
F. Morabito, “Endless Self: Haydn, Cherubini and the Sound of the Canon,” 19th-Century Music 46/2 (2022), 91-124
F. Morabito, “Musicology Without Heroes,” Music & Letters 102/2 (2021), 347-361.
F. Morabito, “Rehearsing the Social: Beethoven’s Late Quartets in Paris, 1825-1829,” Journal of Musicology 37/3 (2020), 349-382.
F. Morabito, “Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer,” Music & Letters 101/2 (2020), 270-299.
F. Morabito, “Review: Consuming Music: Individuals, Institutions, Communities, 1730-1830, ed. Emily H. Green, Catherine Mayes (Rochester, NY: University of Rochester Press, 2017),” Eighteenth Century Music 16/1 (2019), 60-63.
F. Morabito, “The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis?” Music Theory Online 22/2 (2016).
F. Morabito, “I manoscritti autografi di Luigi Cherubini: cataloghi, storia ed acquisizione del lascito presso la Königliche Bibliothek di Berlino,” Acta Musicologica 84/2 (2012), 167-198.
Short Films and Public Musicology
F. Morabito (writer and director): 10 min short film Handling Music before the Invention of the Phonograph (2022) in the permanent digital exhibition “Discovering Music: the 19th century,” The British Library, London, UK.
F. Morabito (writer and director): 10 min short film Annotating Music (2022) in the permanent digital exhibition “Discovering Music: the 19th century,” The British Library, London, UK.
F. Morabito (writer): article “The 19th-Century Musical Album,” (2022) in the permanent digital exhibition “Discovering Music: the 19th century,” The British Library, London, UK.
F. Morabito (writer): article “Musical Autograph Collectors of the 19th Century,” (2022) in the permanent digital exhibition “Discovering Music: the 19th century,” The British Library, London, UK.
F. Morabito and L. de Raymond, “The Composer as Process,” in Antoine Reicha and the Making of the Nineteenth-Century Composer, ed. Fabio Morabito and Louise de Raymond (Bologna: Ut Orpheus, 2021), vii-xxix.
F. Morabito, “Making the Modern Composer in Haydn’s Image,” in Antoine Reicha and the Making of the Nineteenth-Century Composer, ed. Morabito and de Raymond (Bologna: Ut Orpheus, 2021), 3-26.
M. Ward and F. Morabito, “Texture as Structure: Sonata and Concerto Elements in the String Quartets by Rodolphe Kreutzer, Pierre Rode and Antoine Reicha,” in Antoine Reicha and the Making of the Nineteenth-Century Composer, ed. Morabito and de Raymond (Bologna: Ut Orpheus, 2021), 27-70.
F. Morabito, “Évaluer le génie sur son lit de mort: la biographie critique de Méhul par Luigi Cherubini,” in Le Fer et les Fleurs: Etienne Nicholas Méhul (1763-1817), ed. Alexandre Dratwicki and Etienne Jardin (Paris: Actes Sud, 2017), 481-508.
F. Morabito, “Luigi Cherubini auf der Suche nach dem eigenen Quartettstil: das unvollendete Quatuor second und die späten Streichquartette,” in Luigi Cherubini: vielzitiert, bewundert, unbekannt, ed. Helen Geyer (Sinzig: Studio Verlag, 2016), 105-118.
F. Morabito, “Il processo compositivo di Cherubini: il caso dei quartetti,” in Cherubini al “Cherubini” nel 250° della nascita, ed. Sergio Miceli (Firenze: Olschki, 2011), 167-188.
F. Morabito, “I quartetti per archi di Alessandro Rolla: osservazioni sulla macrostruttura e sulla tecnica compositiva,” in Alessandro Rolla (1754-1841): un caposcuola dell’arte violinistica lombarda, ed. Mariateresa Dellaborra (Lucca: LIM, 2011), 277-284.
Upcoming special topic courses are listed below. They can be taken by both undergraduate and graduate students. Interested in knowing more about these courses? Please email me to ask for a course description or the syllabus.
MUSIC 501 Music History Seminar: What Makes Music Last?
MUSIC 487/587 Period/Advanced Period Studies: Cultures of Romanticism
Wednesdays 09:00 - 11:50
Course Description: “Romanticism” is a contested term. For someone with an English degree, it tends to refer to literature from the 1780s to the 1830s. But in music unambiguous uses of “romantic” are harder to come by. Neither when conceived as a set of stylistic features, nor as an era of Western art music does the term provide a precise, adequate characterization. Indeed, it would be a stretch to say that most music from that period is about or “has the tone of medieval epics”, which is the original meaning of “romantic”. How can we use the term meaningfully, then? Cultures of Romanticism is a seminar that investigates critically the interests and innovations (technological, social, political, etc.) that instigated new ways of writing/reading literature, creating/watching spectacles or composing/listening to music in the late eighteenth and early nineteenth century. We will focus on the popular fascination with travel and wandering; nature, science and medical imaginaries; animated statues and the limits of the human; sexual power, irrational desires and vulnerability; urban nightmares; the gothic (watch this short video to get a taste!), uncanny and supernatural; antiquarianism; notions of artistic labor and copyright; poetics of decline, disability and depression; and more. Many of these themes, such as the appeal of fantastic worlds or superpowers, have survived long after the nineteenth century (one need think only about the success of the Harry Potter franchise). Exploring cultures of Romanticism is thus an opportunity to make sense not of a historical period, but of the ways that still make us experience music as an alternative, fabled reality.
MUSIC 477/577 Topics in Musicology (special topic tba)
MUSIC 501 - Music History Seminar I
Prerequisite: consent of Department.