Carlo Caballero is a historian with research interests in French nineteenth-century and twentieth-century music, including the music of Fauré, Saint-Saëns, and Dukas.  He has also published and delivered papers on contemporaneous literature, particularly Mallarmé, Proust, and Vernon Lee.  Since his first publication in 1992, Caballero has continued to pursue a cross-disciplinary approach to the history of music and ideas, but his recent work has added a closer engagement with the analysis of music, especially problems of metrical structure and modal ambiguity.

He regularly teaches classes on eighteenth, nineteenth, and twentieth-century music at both the graduate and undergraduate levels.  Recent seminars have included "Stravinsky & Co." and "The Long Eighteenth Century."  His teaching often emphasizes historiographic and aesthetic issues.

After earning the Ph.D. from the University of Pennsylvania in 1996, Caballero held a postdoctoral fellowship at the University of Colorado at Boulder, where he is now an associate professor in the College of Music.  He is the author of Fauré and French Musical Aesthetics (Cambridge University Press, 2001) and of essays in two edited collections, The Arts Entwined: Music and Painting in the Nineteenth Century (Garland, 2000) and Regarding Fauré (Gordon & Breach, 1999).  He has published articles and review-essays in The Journal of the American Musicological Society, Victorian Studies, and 19th-Century Music.  The Times Literary Supplement  judged that his book on Fauré will be "a landmark in French cultural studies for a long time to come."  Notes praised it as "a welcome thick reading of Fauré's musical world."

Professor Caballero is currently writing a book entitled French Music and the Imagination of Classicism. Other current and ongoing projects include papers on modal usage in Fauré's music; the influence of early music and liturgical music on the styles of Fauré, Gigout, Saint-Saëns, and Messager; political controversies in nineteenth-century French liturgical history; a critique of "modernism" in musical historiography; and issues of performativity and genre in the poetics of Mallarmé.  With Professor Brian Hart, he is planning an edition of the criticism of Paul Dukas in English translation.  He is also on the Comité scientifique of Les Œuvres complètes de Gabriel Fauré, a new undertaking to produce a complete edition of Fauré's works.

He has won fellowships from the American Philosophical Society, the Stanford Humanities Center, and the American Council of Learned Societies.
 
 

"Silence, Echo: A Response to 'What the Sorcerer Said'."  19th-Century Music 28/2 (Fall 2004): 160-82.

Fauré and French Musical Aesthetics.  (Music in the Twentieth Century; 13.) Cambridge: Cambridge University Press, 2001.

"Patriotism or Nationalism?  Fauré and the Great War."  Journal of the American Musicological Society 51/3 (Fall 1999): 593-625.

"In the Toils of Queen Omphale:  Saint-Saëns's Painterly Figuration of the Symphonic Poem."  In The Arts Entwined: Music and Painting in the Nineteenth Century, 119-141.  Ed. by Marsha L. Morton and Peter L. Schmunk.  New York: Garland, 2000.

"Fauré's Religion and La chanson d'Ève."  In Regarding Fauré, 297-331.  Ed. by Tom Gordon.  Amsterdam: Gordon & Breach, 1999.

"Charles Panzéra" (review-essay on historical recordings).  ARSC Journal 25/2 (Fall 1994): 226-33.

"'A Wicked Voice': On Vernon Lee, Wagner, and the Effects of Music."  Victorian Studies 35/4 (Summer 1992): 386-408.

Review-Essay.  French Cultural Politics & Music: From the Dreyfus Affair to the First World War by Jane Fulcher (Oxford: Oxford University Press, 1999). Journal of the American Musicological Society 55/3 (Fall 2002): 563-78.

Review-Essay.  French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style by Steven Huebner (Oxford: Oxford University Press, 1999).  Cambridge Opera Journal 12/1 (2000): 81-89.

Review-Essay.  Gabriel Fauré: A Musical Life by Jean-Michel Nectoux (Cambridge: CambridgeUniversity Press, 1991).  19th-Century Music 16/1 (Summer 1992): 85-92.