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Carol K. Baron

Affiliated Scholar baron


PhD,Graduate Center, C.U.N.Y., 1987

Ives On His Own Terms: An Explication, A Theory of Pitch Organization, and A New Critical Edition for the "3-Page Sonata"

Schenker analysis, Felix Salzer, 1957
History of Music, Graduate School, Yale University, 1957-58

American Musicological Society:  Professional Development Travel Grant, 2011
Fellow for Life, Stony Brook University: from 1998

National Endowment for the Humanities, major grant for "Bach's World," a Public Humanities Program at the University of Stony Brook, 1993-94.
National Endowment for the Humanities, major grant for "The International Bach," a Public Humanities Program at the University of Stony Brook, 1992-93.
A.S.C.A.P. Deems Taylor Award for article, "Dating the Music of Charles Ives: Facts and Fictions," 1991.
American Council of Learned Societies Travel Grant, 1989.
A.S.C.A.P. Deems Taylor Award for article, "Varèse's Explication of Debussy's Syrinx in Density 21.5 and An Analysis of Varèse's Composition: A Secret Model Revealed," 1984.
Sloan Urban Dissertation Fellowship, Graduate Center, C.U.N.Y., 1979-80.

Papers given: International Musicological Society, International Musicological Society Symposium, Annual British International Musicological Conference, European Music Analysis Conference, International Conference of Musicology and Ethnomusicology: Belgrade-Serbia, Society for American Music, SMT-New York State, AMS-Greater New York Chapter, AMS-New England Chapter.

Invited panelist: The Bard Music Festival, Charles Ives and His World, "Art, Business, Politics," August 1996; invited symposium moderator, The Charles Ives Center, Charles Ives: A Yankee Genius or Musical Fraud, "Legend Vs. Reality” and panelist, “Ives and The Concord Transcendentalists,” Danbury, CT, October 1991. Featured lecturer, National Flute Association, Chicago, August 1984. Discussion moderator: Meet the Composer, Great Neck, November, 1981. 

Scholar-in-residence: University of Nevada-Reno, 1998; Leighton Artists Colony, Alberta, Canada, 1994 and 1992; Bar Ilan University, Israel, 1990, 1988;

Numerous radio programs: WQXR, WNYC, WBAI, WKCR, WUSB, WLIR, others.

Israeli Musicological Society
German Studies Association
American Musicological Society

Charles Ives's Universe Symphony: A Centenary Commemoration of the Outbreak of World War I," Knin, Croatia, August, 2014.

Invited panelist: Association for Jewish Studies, "Musical Responses to Crisis," December 2020 (virtual)

Executive Director, Bach Aria Group/Bach Aria Festival and Institute, University at Stony Brook, 1980-1997.
Co-founder. All aspects of administration: liaison with University administrators, organizing and prioritizing for touring ensemble and Festival and Institute, fundraising, programming, scheduling, recruitment, promotion, public relations, as well as writing, editing, translating, and humanities components.

Research Associate, Project for the Oral History of Music, C.U.N.Y.: creator and director of research projects; writer of project prospectus and grant proposals, 1974-75.

Adelphi University, 1980-82: ear training/solfege, 20th century music, form and analysis (Schenkerian techniques).

Hunter College, 1979-80: introduction to music, theory sequence, 20th-century music (2 courses: graduate and undergraduate levels).

York College, 1974-75: rudiments, recorder, piano.


Bach’s Changing World: Voices in the Community, (University of Rochester Press/ Boydell and Brewer, 2006), editor and contributor

Articles and Reviews

“Ralph Shapey: In His Own Words,” Contemporary Music Review 27/4 & 5 (August/October 2008)

Review: “American Festival of Microtonal Music Celebrates Its 27th Year,” New Music Connoisseur, Vol. 15/2 (Fall-Winter 2007-08), with Pamela Baron.

“Transitions, Transformations, Reversals: Rethinking Bach’s World,” Bach’s Changing World: Voices in the Community (see above),

“Tumultuous Philosophers, Pious Rebels, Revolutionary Teachers, Pedantic Clerics, Vengeful Bureaucrats, Threatened Tyrants, Worldly Mystics: The Religious World Bach Inherited,” Bach’s Changing World: Voices in the Community (see above)

"The Democratic Objectives of Charles Ives and His Family: Their Religious Contexts," The Musical Quarterly 87/1 (2004).

"'Father knew (and filled me up with) Bach...': Bach and Ives--Affinities in Lines and Spaces," Bach Perspectives 5, American Bach Society (2002): 151-177.

Review: J. Peter Burkholder, All Made of Tunes: Charles Ives and The Uses of Musical Borrowing, Journal of the American Musicological Society, 53/2 (Summer 2000): 437-444.

"New Sources for Ives Studies," Institute for Studies in American Music Bulletin, Summer 2000. 

"New Sources for Ives Studies: An Annotated Catalogue,”

American National Biography, American Council of Learned Societies (Oxford University Press, 1999), 4 entries for American theorists.

Program notes (and music advisor), Deutsche Grammaphon, for Grammy-nominated recording, A Set of Pieces: Music of Charles Ives, Orpheus Chamber Orchestra, 1994.

Essay-Review: What Motivated Charles Ives's Search for Time Past: Stuart Feder, Charles Ives—My Father’s Song, The Musical Quarterly 78/2 (Summer 1994): 206-219.

At the Cutting Edge: Three American Theorists at the End of the Nineteenth Century--George Ives, Julius Klauser, Bernhard Ziehn,"
International Journal of Musicology 2 (July 1993): 193-247. 

Review: Larry Starr, A Union of Diversities: Style in The Music of Charles Ives, Notes: The Quarterly Journal of the Music Library Association (June1992).

"George Ives's Essay on Music Theory: An Introduction and An Annotated Edition, American Music 10/3 (Fall 1992): 239-288.

Review: "Charles Ives. Symphony No. 3," Notes: The Quarterly Journal of the Music Library Association (June 1992).

"Meaning in the Music of Charles Ives," Metaphor--A Musical Dimension, Australian Studies in the History, Philosophy and Social Studies of Music, Margaret Kartomi, ed., 1991: 37-50.

"Rhetoric and Affect in Baroque Music,” Bach Aria Festival and Institute Program Book, University at Stony Brook, June 1991.

"Dating the Music of Charles Ives: Facts and Fictions, Perspectives of New Music 28 (Winter 1990): 20-57.

"Varèse's Explication of Debussy's Syrinx in Density 21.5 and An Analysis of Varèse's Composition: A Secret Model Revealed," The Music Review 43/2 (1982): 121-134.

"The Composer As Poet: Meaning in the Music of Luigi Dallapicolla (1904-1975)," Centerpoint: a journal for interdisciplinary studies (Winter 1975-76): 37-43.

"An analysis of the pitch organization in Boulez's Sonatine for Flute and Piano," Current Musicology 20 (1975): 87-95.

"Characteristic Features of American Autobiography in 'The Case of Mr. Ives': Why His Dates Matter," (Auto) Biography as a Musicological Discourse, Musicological Studies: Collections of Papers Vol. 3; Markoviƈ, Tatjana and Mikiƈ, Vesna, eds. (Belgrade, 2010).


Charles Ives, 3-Page Sonata (1987), Critical Edition,_Charles)

Charles Ives, Set No. 1 (1994), copyright Associated Music/Theodore Presser Co.

Holt, Rinehart and Winston: Developmental editor of textbook series. Managing, coordinating, prioritizing ms. to b.b.; evaluating, editing, writing, and rewriting ms. Consultant, 1978-79.

Alec Wilder, Pieces for Young Pianists, Vol. 2, Margun Music, Boston, 1978. Vols. 3-6, forthcoming. 
___________, Ibid., Vol. 1, Fox Music Publishers, N.Y., 1969.

America Musicological Society: elected Council Member 1991-1994; Outreach Committee 1991-1994, Committee Chair 1992-1993; member Ethics Statement Committee (1994-1997); Greater New York and New England Chapters.

Society for Music Theory: elected Board of Directors 1999-2002; Subventions Committee, 2000-2003; Music Theory Society of N.Y.S.

Society for American Music: elected Board of Trustees 1996-1999; Chair of Ethics Statement Committee 1998-2000. 

Associate Editor, Perspectives of New Music, 1991-2001.

Executive Producer/Project Director, In Search of Bach, a video-documentary shown internationally through PBS, 1885-89, supported by a major NEA grant.

Local Arrangements Committee, International Association of Music Librarians/International Musicological Society 2015, New York City, June 2015.

For expertise dating music in program book of BBC Symphony’s “Charles Ives: The Unanswered Question,” festival at London’s Barbican Centre (January 19-21, 1996), p. 7. 

Listed in 6 Who's Who’s

Cited by Kyle Gann, “Master of the Universe: Johnny Reinhard Solves the Puzzle of Charles Ives’s Symphony,” Village Voice, June 4, 1996.

Terry Teachout, “Charles Ives: ‘A Set of Pieces,’” Deutsche Grammaphon, Daily News, Record Reviews, August 12, 1994, review.

Larry Starr, review in Sonneck Society Bulletin.

Donal Henahan, "The Polysided Views of Ives's Polytonality," The New York Times, Arts and Leisure Section, Sunday, June 10, 1990, re: "Dating the Music of Charles Ives."

Interviews with Peter Goodman and Justin Davidson in Newsday. 

Dedicatee in Antony Cooke, Charles Ives: The Making of the Composer, 2020.

Pianist/harpsichordist: various performers in sonata recitals and chamber music in U.S.
Pianist: Woodwind Repertory Group, 1975-76
Pianist: Duo Consort, 1972-76
Pianist/harpsichordist: Israel, 1968
Vocal accompanist/moderator: extensive touring in U.S. and Canada, 1956.
Accompanist: Amato Opera Co., 1954-55

Desto Records, "New American Music for Flute and Piano," DC 7104
Serenus Records, "Desconcertant et Sublime," SRS 12082
Edutainment Records, music for two flutes and piano