Daniil Zavlunov

Associate Professor of Music, Musicology Assistant Dean for Faculty Affairs

Daniil Zavlunov is a musicologist specializing in nineteenth-century opera. His scholarship progresses along three broad but intersecting avenues of inquiry: cultural history and historiography; intellectual thought about music, which includes both aesthetics and theory; and the study of musical works--their creative history, language, structure, and style.

  • PhD, musicology, Princeton University
  • MA, musicology, Princeton University
  • BA, music and history, Queens College, CUNY


Daniil Zavlunov


Daniil Zavlunov is a musicologist specializing in nineteenth-century music, with a particular emphasis on Russian and Italian operatic traditions. His research has focused on the works and the world of Mikhail Glinka. At present, Dr. Zavlunov is writing a cultural history of opera in Russia during the reign of Nicholas I (1825-1855), which draws heavily on new archival sources. His other scholarly interests include opera and censorship, Soviet music and intellectual thought about music, theories of musical form, and music analysis. His research has appeared in The Journal of Musicology, Cambridge Opera Journal, Music Theory Online, Journal of Music Theory, Russian Literature, Music & Politics and elsewhere. Before coming to Stetson, he held visiting appointments - teaching music history and theory - at Princeton University, Dartmouth, Skidmore and Haverford Colleges. At Stetson, Dr. Zavlunov teaches a wide variety of courses in the School of Music, the Department of Creative Arts, the Honors Program, and the Program in Russian, East European and Eurasian Studies. In addition to his pedagogical and scholarly pursuits, he is also an avid harpsichordist.

More About Daniil Zavlunov

Areas of Expertise

  • Glinka
  • 19th-Century Russian and Italian Opera
  • Opera and Censorship
  • History of Music Theory (especially Soviet)
  • Music Analysis

Course Sampling

  • Introduction to Western Art Music
  • Music History I and II
  • Music and Social Injustice (JSEM)
  • Arts and Revolution: Music (JSEM)
  • Making Russian Music (JSEM)
  • Senior Research

  • Glinka
  • Mid-19th-Century Russian and Italian Opera
  • Intersection of Music and Politics
  • Opera Censorship
  • Canon Formation and Reception
  • Music Historiography
  • History of Music Theory
  • Music Analysis

  • Topic Theory in Soviet Musicology, Journal of Music Theory 66, no. 2 (October 2022): 189-222
  • Censoring the muses: opera and creative control in Nicholass Russia (1825-1855), Cambridge Opera Journal 34, no. 1 (2022): 37-66
  • "Alexander Mosolov's Piano Sonata No. 1 and Its Synthetic Modernism," in Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism, Inessa Bazayev and Christopher Segall, eds (New York: Routledge, 2020)
  • "Defining and Defending Music Analysis in the Soviet 1930s," Music and Politics 14, no. 2 (Summer 2020)
  • "Nicholas I and his Dramatic Censors Tackle Opera," Russian Literature 113 (April-May 2020): 7-32
  • "Glinka in Soviet and post-Soviet historiography: myths, realities, and ideologies," in Russian Music since 1917:
    Reappraisal and Rediscovery, Marina Frolova-Walker and Patrick Zuk, eds (Oxford: Oxford University Press, 2017)
  • "The 'Tselostnyi Analiz' (Holistic Analysis) of Zuckerman and Mazel," Music Theory Online 20, no. 3 (September 2014)
  • "Constructing Glinka," The Journal of Musicology 31, no. 3 (Summer 2014)