Visiting Assistant Professor of Music Theory
Benjamin Dobbs is an active scholar, pedagogue, and performer. As a music theorist and music historian, his research interests center broadly on the development of music and musical thought during the Protestant Reformation in Middle and North Germany, and include analytical methods for sixteenth- and seventeenth-century repertoires, the emergence of harmonic theory and its integration with contrapuntal practice and composition pedagogy, and the impact of the Thirty Years’ War on European musical cultures. Benjamin’s research has been supported by grants from the Deutscher Akademischer Austauschdienst (German Academic Exchange Service), the American Friends of the Herzog August Bibliothek, and the Toulouse Graduate School. He has presented at conferences throughout the USA, Germany, Austria, and Canada, and has published articles and reviews in Musiktheorie, Renaissance Quarterly, Theoria, Harmonia, and the forthcoming Lexikon des Orchesters.
Benjamin's dissertation for his Ph.D. in Music Theory situated Heinrich Baryphonus and Heinrich Grimm’s music manual, Pleiades musicae (1615/1630), within philosophical, religious, cultural, and music theoretical contexts. While at UNT, he held doctoral, teaching, and dissertation fellowships, and won awards for teaching and research. Upon graduating he joined the faculty at UNT as Visiting Lecturer in Music Theory.
Benjamin sings in the Greenville Chorale and the choir at Episcopal Church of the Resurrection (Greenwood, SC), where he occasionally serves as cantor, conductor, and substitute organist.
- Ph.D., University of North Texas
- M.M., University of North Texas
- B.A., University of Central Arkansas
- Graham Phipps, Frank Heidlberger, and Hendrik Schulze, University of North Texas
- Carl Anthony and Jane Dahlenburg, University of Central Arkansas
My approach to teaching is driven in equal parts by my aspiration to constantly learn more about the music and musical cultures of the past and present, and by my desire to plant the same investigative spark within the next generation of musicians and scholars. My responsibility as a member of the academy is threefold: (1) to preserve the current field of musical knowledge through study, (2) to increase the field of knowledge through research, and (3) to disseminate the field of knowledge through publications, presentations, performance, and teaching. In order to achieve these goals within the context of the classroom, my philosophy of pedagogy consists of three fundamental beliefs:
- Teaching and research mutually reinforce each other
- The integrated study of music history / music theory leads to an increased understanding of both
- One-on-one mentoring relationships are vital for discovering and fostering the strengths of each student
Through these principles, I seek to challenge my students to think critically about the music that they perform, teach, and study, and in doing so to cultivate a spirit of curious exploration and rigorous investigation.