I teach Music Theory at the University of Michigan. My research focuses on the history of music theory (with an emphasis on theories of form), analysis (of tonal and post-tonal repertoires as well of world music), and sketch and source study. My current work, located at the intersection of music theory and music history, focuses on the music and writings of Arnold Schoenberg and the Second Viennese School. I recently started work on a corpus of Irish piping tunes from the 1800s, a project that combines manuscript study with digital analysis of melodic structures. In spring 2019 I was Visiting Professor at the Universität für Musik und darstellende Kunst Wien (Institut für Musikwissenschaft und Interpretationsforschung). I have served the Society for Music Theory in various capacities, most recently as Reviews Editor of Music Theory Spectrum and before that as member of the Executive Board. Currently I serve on editorial board of Music & Politics and the organizing committee for Analytical Approaches to World Music 2020 (Paris).
Kelvin Lee is currently completing his PhD at Durham University. His research focuses on the analysis and history of symphonic music in the long nineteenth century, with special interests in the analysis of sonata form, the theory of tonality, the history of music theory, the history of symphonism and global modernism. Situated at the intersection between music theory and the history of ideas, Kelvin’s doctoral thesis scrutinises the analytical implications of dialectical thought to address the impact of chromatic tonality on formal syntax in fin-de-siècle Viennese symphonic repertoire. His recent (or forthcoming) publications include journal articles in Music Analysis and Musurgia, a book chapter in Nikolai Medtner: Music, Aesthetics, and Contexts (Hildesheim: Georg Olms Verlag), and a book review in Notes. Kelvin’s article ‘Rethinking the Symphonic Poem: Dialectical Form, Sequential Dissonances and the Chord of Fate in Schoenberg’s Pelleas und Melisande‘ won the 25th Anniversary Prize from the French music analysis journal Musurgia. He was also awarded the 2018 Theory and Analysis Graduate Student Prize from the Society for Music Analysis. Kelvin has given papers at international conferences including Society for Music Analysis Annual Conferences, Society for Music Theory Annual Meeting, Royal Musical Association Annual Conferences and International Musicological Society Intercongressional Symposium, among others. He is Chair of the Society for Music Analysis Formal Theory Study Group.
Leon Chisholm studied applied music and musicology in Canada and the United States, obtaining a PhD in historical musicology from the University of California, Berkeley in 2015. His dissertation research, funded in part by the Cini Foundation in Venice, concerned the mechanization of polyphonic vocal idioms brought about by the rise of lute and keyboard playing in sixteenth- and seventeenth-century Italy. He is currently a postdoctoral fellow at the Humboldt University Berlin, the Max Planck Institute for the History of Science, and of CRC 980, “Epistemes in Motion,” at the Free University Berlin. Previously, he held postdoctoral fellowships at the Deutsches Museum in Munich and the Italian Academy at Columbia University. Leon is currently at work on projects concerning the social construction of timbre in organ building and the material origins of musical style and concepts in early modern Europe. His book project Keyboard Playing and the Reconceptualization of Polyphonic Music in Early Modern Italy investigates how seminal changes in the concept and structure of polyphony were rooted in a shift of praxis defined by the increasing role of keyboard instruments in composition, teaching, theory, performance, and rehearsal. In addition to his academic research, Leon is a practicing musician specializing in organs and historical keyboards. He is also co-editor of the blog for the History of Music Theory group of the American Musicological Society and the Society for Music Theory.
Donna Arnold is the long-time music research librarian at the University of North Texas Music Library, where she serves a diversity of university, local, national, and international patrons. Her work is informed by her own music research interests, which range from Schubert, 17th-century lute music, and Russian Orthodox choral music to American roots music and early jazz.
Eamonn Bell holds a doctorate in music theory from Columbia University (2019), where he wrote a dissertation on the early history of computing in the analysis of musical scores, under the supervision of Joseph Dubiel. At Columbia, he designed and taught a course on the critique of digital music (2018), and instructed the undergraduate sections in history of Western music for non-musicians (2018) and the fundamentals of music theory (2017). His research interests include: the history of technology as it relates to musical production and consumption in the twentieth century, with a focus on the first digital computers; the applied use of mathematical and contemporary computational techniques to solve problems in musicology and music theory; visualizations of musical data; and, lately, the cultural history of optical sound-recording media. He also holds a bachelor’s degree in Music and Mathematics from Trinity College, Dublin (2013).