Kenneth Nott

Kenneth Nott serves as Professor of Music History and Chair of BA Music at The Hartt School, University of Hartford, where he teaches courses spanning opera history, keyboard literature, and Baroque seminar studies. His leadership extends to academic administration and collaborative performance initiatives within the institution.

His educational credentials include:

• DMA from The Hartt School, University of Hartford
• MM from The Hartt School, University of Hartford
• BA from Connecticut College

Prof. Nott's research centers on Handel's compositional legacy, particularly through critical editions of operatic works and analyses of 18th-century performance practices. His pedagogical scholarship examines effective methodologies for teaching Baroque repertoire, while his dual career as a church organist informs practical applications of historical performance. This integration of academic rigor and performance expertise defines his scholarly identity.

His publication record demonstrates consistent focus on Handel's operatic output, with the 2010 critical edition of Jephtha representing a major contribution to the Hallische Händel-Ausgabe series. Articles in Music & Letters and Händel Jahrbuch reveal evolving methodologies in textual criticism and reception history, while his pedagogical work bridges theoretical scholarship with classroom application.

Professional affiliations highlight his standing in specialized communities:

• Board of Directors, American Handel Society
• Member, American Musicological Society
• Member, Hartford and New London Chapters of American Guild of Organists

As department chair and educator, he oversees curriculum development for music history while mentoring students through courses like Music History Pedagogy and Critical Editing. His collaboration with Prof. Emlyn Ngai in coaching the Hartt Collegium Musicum provides hands-on training in early music performance, where he performs continuo duties to connect scholarly research with practical execution.

The Collegium Musicum serves as his primary research ensemble, functioning as both performance laboratory and pedagogical platform for exploring Baroque performance practices. This ensemble work complements his archival research on Handel, creating synergies between historical scholarship and contemporary interpretation within the university's performance ecosystem.