BM, Piano Performance, Pacific Lutheran University, 2002
MA, Musicology, University of Victoria, 2005
MA, Musicology, Princeton University, 2009
PhD, Musicology, Princeton University, 2013
Nicholas Lockey is a lecturer in music at Princeton. His recent research spans the entire compass of eighteenth-century music and beyond, with particular emphasis on the music of Vivaldi, Handel and Schubert and issues such as the history of orchestration, analysis of musical form and genre, reception history, and primary source studies. He defended his doctoral dissertation "The Viola as a Secret Weapon in Antonio Vivaldi's Orchestral Revolution: Sonority and Texture in Late Baroque Italian Music" in June 2013. He is currently researching projects on late seventeenth- and early eighteenth-century orchestration and domestic music-making in eighteenth-century rural England.
Additional research interests include Baroque music in early America, British and American rock and popular music, connections between music and the visual arts, musical Neoclassicism, music in seventeenth-century England, nineteenth-century Italian opera, performance practices in music of the Middle Ages, and the symphony and concerto repertoires. He has received grants and awards from the Gladys Krieble Delmas foundation and the Pacific Northwest chapter of the American Musicological Society, and conducted archival research in residency at the Centro Vittore Branca of the Fondazione Giorgio Cini in Venice.
An avid performer of several instruments including harpsichord, piano, and viola, he has served as a co-director of the University of Victoria Collegium Musicum and a director of Princeton University’s early music ensemble, Musica Alta. Recent performances have included a number of collaborative programs for exhibitions and conferences of the Princeton University Art Museum, the Princeton Friends of Opera, Historic Morven, and the American Handel Society, as well as recital appearances and operatic projects.
“Second Thoughts, Embellishments and an Orphaned Fragment: Vivaldi and Pisendel’s Contributions to the Dresden Score of RV 340,” Studi vivaldiani 10 (2010): 125-141.
“Vivaldi and the Siciliana: Towards a Critical Appraisal,” Atti di Convegno Internazionale di Studi “Antonio Vivaldi. Passato e Futuro” 13-16 Guigno 2007, Fondazione Giorgio Cini, Isola di San Giorgio Maggiore, Venezia. Istituto Italiano Antonio Vivaldi. [Online publication]
“Handel’s Instrumental Variation Sets,” Händel-Jahrbuch 54 (2008): 345-378.
“Formal Structure in Vivaldi’s Variation Sets,” Studi vivaldiani 6 (2006): 53-75;
reprinted in Vivaldi, edited by Michael Talbot. Farnham (UK): Ashgate, 2010, pp. 365-386.
“Schubert’s Fifth Symphony: a Milestone in the Evolution of Schubert’s Symphonic Openings,” Musicological Explorations 7 (Spring, 2006), University of Victoria, Canada: 7-48. [Also listed as “New Perspectives on Schubert’s Symphonic Openings”]