Every music theorist has their own personal reasons for engaging in the craft of theorizing about music. Many discover that there is something special about a theoretic disposition which differs from other sorts of interactions with music. It is often this special something that draws musicians into the discipline: specifically,...
In this essay I examine George Aperghis’ process-based compositional thought in the score and performance practice of Retrouvailles, with a focus on the non-hierarchical and simultaneous use of interdisciplinary elements. I demonstrate how Aperghis sets up the complex dramaturgy of superimposed, suggestive narratives in this work as a case-study of...
Every music theorist has their own personal reasons for engaging in the craft of theorizing about music. Many discover that there is something special about a theoretic disposition which differs from other sorts of interactions with music. It is often this special something that draws musicians into the discipline: specifically,...
Fausto Romitelli (1963-2004), one of the most inventive composers of his generation, created a musical language that draws inspiration from a multifaceted array of sources, including the technological landscape of daily life, the visual arts, poetry, literature, and philosophy. Furthermore, from early in his career, Romitelli incorporated elements in his...
Listeners can experience strong and often positive identification with music. Contemporary research has emphasized the importance of a listener’s own identity, including their sense of self and their desires, when forming such identifications. However, acknowledgments of the listener’s role in the listening experience have failed to productively engage discussions of...
This dissertation examines the remediation of video game music from their source games to the concert hall. I argue that while not unique in their repositioning from popular to classical registers, the classicalization of video game music offers a contemporary challenge to the current norms of classical music institutions. I...
This dissertation proposes a theory that views beats as probabilistic domains that I term “pockets,” taking a vernacular term commonly used by jazz, funk, and popular music performers to describe the state of being in a good groove and making it concrete through empirical methods. Pockets have three key properties:...
For much of the twentieth-century, English-language music scholars were reticent to speculate about the origins of music. In recent years, however, the study of music’s evolutionary origins has been revitalized. Resonating Subjects brings a critical-historical perspective to this renewed convergence of music studies and evolutionary science. Through close examinations of...
Musical meter is often described as an objective grid-like system of time-points that is created by musical sounds. I define meter instead as any pattern of felt beats an individual listener chooses to hear, a physical and cognitive interpretation of the music that is (re-) created in the moment of...