“The Yale–Classical Archives Corpus.” Empirical Musicology Review 11(1): 50–58. “Corpus-Derived Key Profiles Are Not Transpositionally Equivalent.” Music Perception 34(5): 531–540. ![]() Finalist, Outstanding Publication Award, Society for Music Theory. “Chord Context and Harmonic Function in Tonal Music.” Music Theory Spectrum 40(2): 314–335 + 15pp. “Tonal Harmony.” In Alexander Rehding and Steven Rings, eds., Oxford Handbook of Critical Concepts in Music Theory. Oxford Handbook of Corpus Studies in Music. Currently Technical Director of Web Intelligence for Yonder. Kristen Peter Shaffer (Music Theory, 2011): “Neither Tonal nor Atonal”?: Harmony and Harmonic Syntax in György Ligeti’s Late Triadic Works.Currently Assistant Professor of Music Theory, University of Massachusetts at Amherst. White (Music Theory, 2013): Some Statistical Properties of Tonal Harmony, 1650–1900. Currently Associate Professor of Music, University of Victoria. Joseph Salem (Music History, 2014): Boulez Revised: Compositional Process as Aesthetic Critique in the Composer’s Formative Works.Currently Visiting Assistant Professor of Music, University of Oklahoma. Matthew Schullman (Music Theory, 2016): Rethinking Patterns: Associative Formal Analysis and Luciano Berio’s Sequenzas.Currently Data Scientist and Product Manager at Knewton. Andrew Jones (Music Theory, 2017): Harmony and Statistical Temporality: Toward Jazz Syntax from Corpus Analytics, co-supervised with Brian Kane.Daniel Goldberg (Music Theory, 2017): Bulgarian Meter in Performance.Currently Assistant Professor in Residence, Dept.Currently Assistant Professor of Music Theory, University of Connecticut. Stefanie Acevedo (Music Theory, 2020): Harmonic Schemata of Popular Music: An Empirical Investigation of Analytical Patterns and their Mental Representations.Currently Visiting Assistant Professor of Music, Wesleyan University. Liam Hynes-Tawa (Music Theory, 2020): How the Phrygian Final Lost Its Finality.Michael Bruschi(Music Theory, 2021): Hearing the Tonality in Microtonality. Currently Director of Music, Brooks School.As of fall 2022, Visiting Assistant Professor of Music (tenure track), College of Arts and Science, New York University. 2022): The Role of Vernacular Music Theory in the American Barbershop Community. 2023): writing on key characteristics and the sharp-flat duality from the thirteenth century to the present Bronwen Garand-Sheridan (Music Theory, proj.2023): writing on the Tonsystem concept in the Berlin school of comparative musicology ![]() 2023): writing on notational innovation in communities of vernacular-music practice
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