Mary Natvig


  • Position: Professor (musicology)
  • Phone: 419-372-7351
  • Email:
  • Address: 1052 Moore Musical Arts Center

Mary Natvig holds the Ph.D. in musicology with a minor in music theory from the Eastman School of Music. Her two main areas of research are: 1) the sacred music of the 15th century (in particular the music of Antoine Busnoys) and 2) music history pedagogy, a field that she helped to establish with her 2002 book, Teaching Music History (Ashgate), which has been cited as the start of a 21st-century movement to legitimatize pedagogy as a scholarly pursuit within the field of musicology. Other research interests include women’s gamelan, women and patronage, the music of Marilyn Shrude, and music as social metaphor in the American progressive era. Her articles have appeared in the Journal of Music History Pedagogy, the College Music Society Symposium, Women in Music, Journal of the International Alliance for Women in Music, the New Catholic Encyclopedia, and the New Grove Dictionary of Music and Musicians. She has presented papers at the annual meetings of the American Musicological Society, the Society for Ethnomusicology, the College Music Society, The International Medieval Congress, the biennial Feminist Theory and Music conference, and at numerous other national and international venues. She has been a guest speaker at the Eastman School of Music, the University of Miami, and Indiana University, among others.

            Natvig has served on numerous committees of the American Musicological Society at the national and regional levels. She is currently on the editorial board of the Journal of Music History Pedagogy and is Reviews Editor of the Journal of Musicological Research.

            For 21 years, Natvig directed the Early Music Ensemble at BGSU and also taught Suzuki violin for 16 over years. She occasionally still performs on modern and Baroque violin.

            Natvig is the Assistant Dean of Undergraduate Studies in the College of Musical Arts, a position that involves curricular decisions, advising, and helping students to achieve academic success.


  • Music: A Social Experience, co-authored with Steven Cornelius (Pearson/Prentice Hall) 2011.
  • Teaching Music History: A Collection of Essays, ed. Mary Natvig (Aldershot, UK: Ashgate) 2002.

Book Chapters

  • “Classroom Activities in the Music History Classroom,” in The Music History Classroom, ed. James Davis (Ashgate), 2012.
  •  “Imitation in the Motets of Antoine Busnoys,” in The Motet around 1500: On the relationship of imitation and text treatment, ed. by Thomas Schmidt-Beste. Turnhout: Brepols, 2012:  173-185.
  • “Richard Strauss and the German Military Band Tradition” and “The Wind Music of Richard Strauss:  A Catalogue,” in The Wind Band and Its Repertoire: Two Decades of Research as Published in the College Band Directors National Association Journal, compiled and edited by Michael Votta, Jr., in the series The Donald Hunsberger Wind Library (Miami: Warner Bros. Publications) 2003.
  • “Teaching Women in Music,” in Teaching Music History: A Collection of Essays, ed. Mary Natvig (Aldershot, UK: Ashgate) 2002.
  • “The Magnificat Group of Antoine Busnoys:  Aspects of Style and Attribution,” in  Antoine Busnoys:  Method, Meaning, and Context in Late Medieval Music, ed. Paula Higgins  (Oxford: Oxford University Press) 1999.
  • “A New Manuscript from the Convent of St. Clare’s, Brussels,” in An Anthology of Music Fragments from the Low Countries (Middle Ages-Renaissance), ed. Eugeen Schreurs  (Belgium: Alamire Foundation) 1998.
  • “A 1970s Music Club Lady and Her Musician Daughter,” essay in Cultivating Music in America:  Women Patrons and Activists since 1860, Ralph Locke and Cyrilla Barr, eds.  (Berkeley and Los Angeles: University of California Press) 1997. 

Updated: 08/18/2021 08:51AM