My research interests lie primarily in tonal analysis (particularly chromatic harmony), contemporary film and video game music, popular music in media, and the digital humanities. I am currently at work on several projects: a book manuscript dealing with the use of recomposition throughout the history of music theory; an investigation of the role of the diminished triad in chromatic voice-leading and chromatic harmony; an exploration of musical style in very early video game soundtracks (with a particular interest in how the development of early game technology influenced both sound design and composition); and an analysis of solo cover songs on YouTube. For more information on my work, see my Academia.edu page, or my full C.V. here.
Upcoming Projects and Presentations:
In November 2019, I will present two talks at the annual meeting of the Society for Music Theory. The first one, based on one of my current research projects, examines harmony, customized instruments and extended performance techniques in solo pop covers on YouTube. The other, which is part of a special session on pedagogy, will address my use of Neo-Riemannian theory in undergraduate courses.
May 2019: “Music Theory on the Radio: Theme and Temporality in Hans Keller’s First Functional Analysis” Music Analysis 38/3.
October 2018: “Review of David Lewin’s Morgengruß, ed. David Bard-Schwarz and Richard Cohn.” Music Theory and Analysis 5/1: 104 - 114.
September 2018: "Music Theory and the Epistemology of the Internet; or, Analyzing Music Under the New Thinkpiece Regime." Analitica: Rivista online di studi musicali (journal of the Italian Gruppo analisi e theoria musica).
Part of a special issue on “Music Analysis, Politics, and Culture,” This paper examines the recent phenomenon of pop music analyses appearing on websites like Slate and Vox, and argues for both greater methodological openness and increased public engagement among scholars of music theory.
January 2018: “Putting it Together: The Anatomy of a Solo YouTube Cover.” Musicology Now (official blog of the American Musicological Society)
June 2017: “Diegetic Music, Mythmaking, and the Heroic Theme in Guardians of the Galaxy.” Musicology Now.
April 2017: “Momigny’s Mozart: Language, Metaphor, and Form in an Early Analysis of the String Quartet in D Minor, K. 421.” Newsletter of the Mozart Society of America 21/1: 5-10.
August 2015: “Flipping the Flip: Responsive Video in the Music Classroom.” Engaging Students: Essays on Music Pedagogy 3
August 2012: “Review of Steven Rings, Tonality and Transformation.” Mosaic: A Journal of Music Research 2.
March 2019: I co-presented a paper on chromaticism in Amy Beach’s songs with my research student Austin Nikirk, at the annual meeting of the Music Theory Society of the Mid-Atlantic at the University of Maryland-Baltimore County.
January 2019: I gave a presentation on “Teaching with Video” at the Carolina / College Music Society Summit on Designing the 21st-Century Music School, held at the University of South Carolina.
March 2018: I presented a talk on diminished triads in Neo-Riemannian music theory at the annual meeting of the Music Theory Society of the Mid-Atlantic.
January 2018: I presented a paper about hard rock tropes and compositional techniques in the soundtracks of Capcom's early (1987 - 1993) Mega Man games, at the fifth annual North American Conference on Video Game Music in Ann Arbor, Michigan. A video of the talk is available here.
November 2017: I presented a paper on Hans Keller's system of "Functional Analysis" at the annual meeting of the Society for Music Theory in Arlington, Virginia. You can read the full typescript of the paper here.
September 2017: I presented a paper on Amy Beach's "Hermit Thrush" pieces at a conference devoted to Beach, Teresa Carreño, and their contemporaries, at the University of New Hampshire.
Book Project: Recomposition in Music Theory
I am currently at work on a book manuscript entitled Recomposition in Music Theory. Building off of my dissertation research, the project explores how scholars, critics, and pedagogues from Rameau to the present have often recomposed music in order to prove their arguments. These theoretical recompositions take many forms. Some are offered as corrections, as in the famous case of Mozart's "Dissonance" Quartet (K. 465). Others are hypothetical, meant to propose prototypical models for unusual passages, to make arguments about the composer’s process or intent (as a kind of “sketch study in reverse”), or to clarify a given theorist’s own ideas. In the early 1800s, for example, critics corrected dissonant passages in Mozart’s music because such aberrations did not fit into the popular image of the effortless and genial master, while the controversial BBC radio personality Hans Keller broadcasted his own didactic versions of famous pieces in the 1950s, hoping to educate British audiences about the compositional processes of famous composers. While theoretical recompositions have been a tool of music theorists since the 1700s, and are common in teaching and scholarly writing today, they have rarely been studied for their own sake. As paratextual images that accompany analytical prose, recompositions—and musical examples in general—have often escaped scrutiny, taking on immense rhetorical force by pure indexicality: “As Figure 1 demonstrates…” Or, as in cases like Keller’s radio experiments, recompositions are ignored as mere curiosities. Drawing together scholarship about musical borrowing, authorship, and influence with reflections on analysis and music theory pedagogy (both historical and contemporary), my book will read recompositions as the result of individual and idiosyncratic encounters with music. I argue that in their use of music notation and their ability to tacitly summarize several steps of an argument, recompositions encode aesthetic values that are rarely evident from the prose they accompany. Finally, approaching the topic from another angle, I describe a more general recompositional impulse that underlies such disparate topics as intertextuality, the perception and analysis of musical form, and the enharmonic tricks of 19th-century composers like Wagner, Schubert, and the Schumanns.
Film and Multimedia
Along with my interests in the history of music theory and the philosophy/methodology of music analysis, I am active in film and video game music studies. I am especially interested in interactivity in music and games, and in ways in which video game soundtracks have been influenced by avant garde and modernist tendencies on one hand, and by popular music on the other. My upcoming paper at the North American Video Game Conference (University of Michigan, January 2018) explores pop music as a metaphor for listening to 1980s game soundtracks. I have also presented research on David Key and Ed Kanaga's experimental game Proteus (NACVGM 2014), and helped to co-convene an interactive "poster session" on current approaches to video game music at the 2014 joint meeting of AMS and SMT in Milwaukee. In 2015, I presented a paper on Leonard Rosenman's partially atonal score for the James Dean film East of Eden (1955) at the annual American Musicological Society meeting in Louisville, KY. All of these papers are part of a larger project, which will examine how popular culture has borrowed and transformed the materials and tendencies of modernist composition, and repackaged them for popular consumption.
I have a longstanding interest in the relationship between music and play--the other side of "ludomusicology," if you will--and am currently developing an essay for publication based on a pair of conference presentations from a few years ago.
I have also taken an interest in the history and development of David Lewin's transformational theory. I spent a few days working in the Lewin archives at the Library of Congress in 2014, and in my spare time I enjoy tracking down various pieces of Lewiniana at Harvard. My review of David Lewin's Morgengruss: Text, Context, Commentary (Oxford, 2015), edited by Richard Cohn and David Bard-Schwarz, appeared in the journal Music Theory and Analysis in October 2018.