Arman Schwartz

Director of Undergraduate Studies
Associate Professor
Concurrent Associate Professor, Department of Music

Education

M.A. (Music History and Literature); Ph.D. (Music History and Literature), University of California, Berkeley

B.A. (Music), general and special honors, University of Chicago

 

Research and Teaching Interests

Realism and Modernism; Sound Studies; Italian Studies; Theater, Opera, and Performance Studies

Bio

Arman Schwartz is a musicologist specializing in European and American art music from the nineteenth century to the present. He is the author of Puccini’s Soundscapes: Realism and Modernity in Italian Opera (Olschki, 2016) and co-editor of two essay collections: Sonic Circulations: Music, Modernism, and the Politics of Knowledge (University of Pennsylvania Press, 2025), with Emily I. Dolan and Emily MacGregor; and Giacomo Puccini and His World (Princeton University Press, 2016), with Emanuele Senici. He has also guest-edited a special issue of The Opera Quarterly on “Opera and the Avant-Garde.” Articles and reviews have appeared in publications including the Journal of the Royal Musical Association, Music and Letters, and Cambridge Opera Journal. His essay “Rough Music: Tosca and Verismo Reconsidered” (19th-Century Music) was awarded the Royal Musical Association’s Jerome Roche Prize “for a distinguished article by a scholar in the early stages of his or her career.”

The recipient of a Rome Prize in Modern Italian Studies, Schwartz has been a Director’s Guest at the Civitella Ranieri Center and a Scholar-in-Residence for the Bard Music Festival. Before arriving at Notre Dame, he held an Andrew W. Mellon Postdoctoral Teaching Fellowship at the University of Pennsylvania and an ACLS New Faculty Fellowship at Columbia University. He was a lecturer in the Department of Music at King’s College London from 2017-22 and Executive Editor of The Opera Quarterly from 2017-21.

Current projects include editing The Cambridge Companion to Puccini, under contract with Cambridge University Press, and completing a second monograph titled Scenic Dispositions: Opera and Emotion after Verdi.