Music Department
Faculty & Staff
Erik Heine
Professor of Music

Email: eheine@okcu.edu
Office: FA 321
Phone: (405) 208-5219

Dr. Erik Heine, a scholar of cinematic scores, is a Professor of Music Theory at the Wanda L. Bass School of Music, where he has taught since 2005. Dr. Heine currently teaches sophomore music theory and aural skills (Theory/Aural Skills III & IV), Form & Analysis, and Twentieth-Century Styles & Structure, a graduate course.

His dissertation, The Music of Dmitri Shostakovich in “The Gadfly,” “Hamlet,” and “King Lear,” analyzes the cues composed for the three films, both independently and as they contribute to each film's narrative structure.

He has presented papers at international conferences concerning film music, both of Shostakovich and other composers, including multiple international conferences during the centenary celebration of Shostakovich’s birth in 2006, as well as papers concerning music theory and aural skills pedagogy. He has also been published in the DSCH Journal and the journal Music and Letters. His current research concerns music from the films The Magnificent Seven and Three Amigos!, the tintinnabuli works of Arvo Pärt, and the music of Edgard Varèse.

“In my teaching, I emphasize that knowing the process is more important than always arriving at the right answer. If a student understands the process of how to obtain the answer, then the correct answer will ultimately follow. I also emphasize that musical analysis comes after several foundational layers. Without the foundation, mastery of the material is not possible.”

He earned a Ph.D. in Music Theory from the University of Texas at Austin, an M.M. in Music Theory from the University of Arizona, and a B.M. in Percussion Performance from Illinois Wesleyan University. His teachers have included Jim Buhler, Tim Kolosick, David Neumeyer, and Ed Pearsall.

Recent Publications:

“A History of Varèse’s Ionisation: Editions and Recordings,” co-authored with David Steffens, in Percussive Notes, forthcoming, June 2009.

“Controlling and Controlled: Ophelia and the Ghost as Defined by Music in Grigori Kozintsev’s Hamlet” in Literature/Film Quarterly, Volume 37, No. 2, 2009, pp. 109-123.

“Shostakovich, King Lear, and the Concert Hall,” in the DSCH Journal, No. 26, January 2007, pp. 40-50.

Review: John Riley’s Dmitri Shostakovich: A Life in Film in Music and Letters, (Oxford: Oxford University Publishers), Volume 88, No. 4, 2007, pp. 695-7.

Recent Conference Presentations:

“Elmer Bernstein’s Self Parody: Music in The Magnificent Seven and ¡Three Amigos!” to be delivered at the Fourth Annual ECHO Conference (topic: Music and Humor), June 5-6, 2009, hosted by the University of California at Los Angeles.

“Music as an Indicator of Faith in Signs,” delivered at the College Music Society Great Lakes/Great Plains SuperRegional Conference, March 28-30, 2008, hosted by Illinois State University.

“Static But Different: Ophelia’s Music in Kozintsev’s Hamlet,” delivered at the Fourth Annual Film and Music Conference, in conjunction with the Fourteenth Annual Bradford International Film Festival, held March 5, 2008 in Bradford, England, hosted by the University of Leeds.

“The Search for Truth: Bach’s Music in Tarkovsky’s Solaris,” delivered at the Popular Music in the 20th Century: Russia and the Soviet Union Conference, January 26-27, 2007 at the University of Chicago (by invitation); hosted by the University of Chicago Center for East European and Russian/Eurasian Studies, through a grant from the Andrew W. Mellon Foundation.

“Shostakovich, King Lear, and the Concert Hall,” delivered at the “Shostakovich: Centenary Reflections” conference held September 15-17, 2006 at Fitzwilliam College, University of Cambridge, Cambridge, England, hosted by the UK Shostakovich Society.

“Madness by Design?: Hamlet’s State as Defined by Music,” delivered at the Shostakovich Festival in New Brunswick, NJ at Rutgers University on April 7-9, 2006.