Music Department
Faculty & Staff
Erik Heine
Professor of Music
(on sabbatical Fall 2014)

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, Music and Letters, Journal of Religion and Film, and the Journal of Music Theory Pedagogy Online. He is currently working on a book concerning James Newton Howard’s music in the 2002 film Signs, and is on sabbatical for the Fall 2014 semester.

“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 Caplin-style Analysis of Beethoven’s Piano Sonata No. 3, op. 2, no. 3, movement I,” Journal of Music Theory Pedagogy Online, Volume 3 (Spring 2014).

“Musical Rebirth in Fearless and The Truman Show,” Journal of Religion & Film, Vol. 18: Issue 1 (2014), Article 47.

“Parody, Self-Parody and Genre-Parody: Music in The Magnificent Seven and ¡Three Amigos!,” in Sounding Funny: Music, Sound, and Comedy Cinema, ed. Mark Evans. (Collection under consideration by Equinox Publishing; expected publication 2014). (peer reviewed)

“Games, Simplicity, and Trees: An Analysis of Arvo Pärt’s Arbos,” in Analyzing the Music of Living Composers (and Others), ed. Jack Boss, et. al., Newcastle Upon Tyne, England: Cambridge Scholars Press, 2013.

“Madness by Design: Hamlet’s State as Shown Through Music,” in Contemplating Shostakovich: Life, Music and Film, ed. Andrew Kirkman and Alexander Ivashkin, Aldershot, England: Ashgate Publishers, 2012. (peer reviewed)

Recent Conference Presentations:

New Babylon, composed by Dmitri Shostakovich. Basel Sinfonietta, Mark Fitz-Gerald, conductor, Naxos 8.572824-25, 2011. DSCH Journal 36 (2011): 79.

Andrei Tarkovsky by Robert Bird. Scope, 16 (February 2010).

Recent Conference Presentations:

“Style as Leitmotiv in Grosse Point Blank,” poster presentation at the joint conference of AMS-Southwest and SEM-Southern Plains, hosted by the University of Texas at Austin, April 5-6, 2014.

“The Sonata-Rondo in Beethoven’s Final Two Symphonies,” delivered at the Oklahoma Music Theory Roundtable, hosted by Oral Roberts University, October 11, 2013.

“Singing and Dancing with Bo Diddley at the End of the World: The Role of the First Song in an Episode of The Backyardigans,” delivered at the Oklahoma Music Theory Round Table, hosted by Oklahoma City University, October 5, 2012.

“Musical Rebirth in Fearless and The Truman Show,” delivered at the Forum on Music and Christian Scholarship Conference, February 16-18, 2012, hosted by Calvin College.