• Assistant Professor of Musicology


  • BMus, West Chester University, 2011
  • MMus, University of Southampton, 2012
  • PhD, University of Southampton, 2016


Austin Glatthorn specializes in the interdisciplinary negotiation of music, politics, culture, and aesthetics in the decades around the year 1800. He is especially interested in music at the crossroads of the Old and New Regimes, particularly during the French Revolutionary and Napoleonic Wars. Most recently, Glatthorn has been exploring music theater in the formative years of the Western musical canon.

Glatthorn’s research appears in book chapters and in issues of Eighteenth-Century Music and Journal of Musicology. His latest work on melodrama’s operatic and symphonic entanglements is forthcoming in Music & Letters. Glatthorn is working on a monograph that challenges the notion of Viennese classicism—a stylistic paradigm first conceived in the 1830s and developed well into the 20th century—through an investigation of the Holy Roman Empire’s theater network. In so doing, he aims to return music c.1800 to the contexts in which it was first composed, performed, and heard. His research has been supported by competitive grants from the University of Southampton, the Deutscher Akademischer Austauschdienst, the Leibniz-Institut für Europäische Geschichte, and the Social Sciences and Humanities Research Council (Canada).

Glatthorn presents the results of his research at international conferences and colloquia, including the annual conferences of the American Musicological Society and the Royal Musical Association.

As an educator, Glatthorn seeks to familiarize students with the Western tradition’s most valued music, yet challenge them to engage critically with the canon. Drawing on his extensive archival work, he introduces students to a wide range of composers, styles, genres, performers, and performance locations in order to empower them with the knowledge necessary to make their own informed decisions about musical character and style. Glathhorn has created editions of long-forgotten music and has worked with student ensembles to stage the modern premieres of these works in concerts in the U.S., U.K., and Germany.

  • Music, politics, aesthetics, and European culture c.1800
  • Melodrama
  • Harmoniemusik
  • Networks of eighteenth-century music
  • (Deconstructing) the musical canon
  • The Holy Roman Empire
  • Social Sciences and Humanities Research Council, “Opera and the Musical Canon, 1750–1815,” Postdoctoral Research Fellow, 2016–2018
  • Leibniz-Institut für Europäische Geschichte, Doctoral Fellowship, 2015
  • Deutscher Akademischer Austauschdienst, Research Fellowship, 2013–2014
  • Vice Chancellor’s Award, University of Southampton, 2012–2015
  • “The Legacy of ‘Ariadne’ and the Melodramatic Sublime,” Music & Letters (forthcoming).
  • “Die Transformation des Musiktheaters in Mainz, 1792–93. Von der kurfürstlichen Bühne zum Jakobinertheater,” in Die Mainzer Republik und ihre Bedeutung für die parlamentarische Demokratie in Deutschland, Hans Berkessel, et al., eds (forthcoming, 2019).
  • “In the Name of the Emperor: Representational Theater and the Princes of Thurn und Taxis,” Journal of Musicology, 35/1 (2018): 1–41.
  • “The Imperial Coronation of Leopold II and Mozart, Frankfurt am Main, 1790,”Eighteenth-Century Music, 14/1 (2017): 89–110.
  • “Das Mainzer Nationaltheater und die Kaiserkrönung Leopold II.,” in Mainz und sein Orchester: Stationen einer 500-jährigen Geschichte, Ursula Kramer and Klaus Pietschmann, eds., Mainz: Are Musik, 2014, 95–118.