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MemberLeigh VanHandel

…Society for Music Theory, Society for Music Perception and Cognition, Music Theory Midwest…
…(2018) “Scores of Scores: an OpenScore project to encode and share sheet music.” In Proceedings of the 5th International Conference on Digital Libraries for Musicology.
VanHandel, L. (2018) “Relation between melodic characteristics and tempo determination.” In Proceedings of the International Conference on Music Perception and Cognition/European Society for the Cognition of Music.
VanHandel, L. (2016) “The war of the Romantics: An alternate hypothesis using nPVI for the quantitative anthropology of music.” Empirical Musicology Review,, Vol. 11, No. 2.
VanHandel, L. (2014) Articles in Thomson, W.F.(Ed), Music in…

Leigh VanHandel is Associate Professor of music theory at the Michigan State University College of Music, with a courtesy appointment in Cognitive Science. Her research interests include music cognition, music theory pedagogy, the relationship between music and language, computer applications in music research and pedagogy, and how all of those things relate to each other. She has presented at numerous regional, national, and international conferences and has been published in such journals as the Journal of Music Theory Pedagogy, Music Perception, the Journal of New Music Research, and Empirical Musicology Review. She is the author of Music Theory Skill Builder, a web-based fundamentals development environment licensed and distributed by Oxford University Press. In 2018 she was appointed to the College Board Advanced Placement Music Theory Development Committee, and was also elected to the Executive Board of the Society for Music Theory. She is editor of and a contributor to The Routledge Companion to Music Theory Pedagogy (Routledge Press, forthcoming in 2020).

MemberJoseph Jakubowski

…Society for Music Theory

Society for Music Perception and Cognition

College Music Society

Music Theory Midwest

New England Conference for Music Theorists…

I teach music theory in the Harvard Music Department and research process and ambient music of the latter twentieth and early twenty-first centuries (minimalism, spectralism, electroacoustic, ambient). My goals are analytical: drawing on recent theories of event cognition, embodied cognition, and ecological perception, I investigate the in-time musical experience of form, time, meter, timbre, and meaning. I contextualize broad questions about the nature of musical experience in narrow instances of processual, spatial, and interactive musical experiences. I have recently published or presented research on the role of metric cognition in Grisey (MTO, 2018; SMT, 2019); aspects of embodiment and formal perception (Intégral, forthcoming); and the development of spectral community and discourse through memorials to Grisey (Spectralisms conference, 2019). I am currently developing a monograph investigating process and ambient thinking since 1950 across genres and styles, from Stockhausen and Messiaen to Hans Abrahamsen and Laurie Spiegel. The book’s working title (quoting a Kaitlyn Aurelia Smith track) is “Existence in the Unfurling”: Theorizing Process and Ambient Music, 1950-2020.

MemberStefanie Acevedo

…Society for Music Theory
Society for Music Perception and Cognition
International Association for the Study of Popular Music
International Society of Music Information Retrieval
College Music Society
Broadcast Music, Inc.
Sigma Alpha Iota
Kappa Kappa Psi…
…nd Eva Schuck. In Song Interpretation in 21st-Century Pop Music, Vol. II, edited by Ralf von Appen, André Doehring, Dietrich Helms, and Allan F. Moore. Taylor & Francis Publishing (In Press).

“Effects of metrical encoding on melody recognition,” co-authored with Peter Q. Pfordresher and David Temperley. Music Perception 31(4)….

https://hcommons.org/members/stefacev/

MemberGuy Birkin

Senior Research Executive at CFE Research, Leicester, UK, an independent company doing social research on education, employment, wellbeing for government, public authorities and education providers. I work on design, field work and analysis of research, specializing in literature reviews, quantitative and qualitative analysis, and data visualization. My work is mainly in the area of education, particularly education in the arts and in science/STEM subjects, in relation to socioeconomic disadvantage, gender and ethnicity. Independently, I continue my academic research on aesthetic complexity – investigating how complexity is perceived, understood and used in visual art and music. This research supports and is supported by my creative practice – generative music and visual art.

MemberVladimir Valjarevic

A dedicated chamber musician and soloist, pianist Vladimir Valjarevic has been praised for his “caressing legato,” “silk-on-velvet seductiveness” (Fanfare Magazine), “beautiful lyricism and . . . wide variety of tones and colorings, perceptively applied with care” (All Music Guide). He has also been called “an outstandingly responsive partner and superb tonalist” (The Strad). His performances have taken him throughout America, Europe, and Asia, and have garnered enthusiastic critical acclaim. Valjarevic has collaborated with numerous contemporary composers in various projects, including commissions, recordings, and world premiers. He has recorded for Labor Records, Romeo Records, Centaur Records, Blue Griffin, and MSR Classics.

Valjarevic studied in his native Bosnia, at Belgrade Conservatory (Serbia), Mannes School of Music (BM & MM), Mason Gross School of the Arts at Rutgers University (DMA) and at Geneva Conservatory in Switzerland, where he was a Fulbright Scholar. His primary piano instructors are Pavlina Dokovska, Pascal Devoyon, Susan Starr, and Planinka Jurisic-Atic. Valjarevic is on piano faculty at Mannes School of Music (College, Prep) and Mason Gross School of the Arts, and teaches piano pedagogy and literature at Mannes. His festival affiliations include Beijing International Music Festival and Academy, and Xi’An Music Festival in China, Round Top in Texas, International Institute for Young Musicians in Kansas, and International Keyboard Institute and Festival in New York.

MemberTimothy Chenette

Music theorist who studies aural skills pedagogy, music theory pedagogy, and early music analysis. I’m particularly interested in reforming aural skills education to better serve a broader range of students. I teach at Utah State University, and previously taught as a lecturer at UMass Amherst and a Visiting Lecturer at Indiana University. I also run a public-musicology blog on applying “traditional” music theory concepts to broadly-defined “popular” music, at musictheorybridges.wordpress.com.

MemberLauren Osborne

My interests revolve broadly around perception and experience of religious texts. My areas of specialization include Islamic Studies, the Qur’an and Qur’anic Studies, Islam and music, and Sensory Studies in the study of religion. My current project is a book on meaning and experience across the sound, text, and performance of the recited Qur’an called, Recite! Aesthetics and Experience of the Recited Qur’an. In this work, I take a combined hermeneutic and ethnographic approach in considering the recited Qur’an in a wide range of contexts, illuminating the theoretical possibilities for interrelationships and discontinuities between different realms of meaning. In my research and teaching more broadly, I am interested in interactions between discursive and non-discursive meanings of religious texts—the Qur’an most specifically—, as well as sense experience within Islamic Studies and Religious Studies. I am currently the co-chair of the Qur’an Unit in the American Academy of Religion.

MemberStephen Etheridge

I was awarded my PhD from the University of Huddersfield in 2014. My research explored contested  themes in social history and musicology. Even though brass bands were a national movement I analysed the  bands of the Southern Pennines to explain why  brass bands became such a powerful metonym of northern working-class culture. I found that this cliché emerged from ca. 1840-1914 through a number of elements that were  largely external to the brass band movement. I have published on brass bands and aspects of class, gender and region. My ongoing research continues into the social networks that emerged from musical groups in the long nineteenth century and beyond. My current research projects include women and gender in military bands; jazz and working-class identity in a 1930’s Staffordshire town, and the role of discotheques in provincial life throughout the 1970s and 1980s. I have led adult-education courses at the University of Huddersfield and the University of York, and I have contributed research to the AHRC-funded  Making Music in Manchester during World War One  project, based at the Royal Northern College of Music. I also write for the northern ezine Northern Soul as a music correspondent. I am seeking post-doctoral opportunities.  

MemberJonathan Sterne

Jonathan Sterne is Professor and James McGill Chair in Culture and Technology in the Department of Art History and Communication Studies at McGill University.  He is author of MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture.  He is also editor of The Sound Studies Reader (Routledge, 2012) and co-editor of The Participatory Condition in the Digital Age (Minnesota, 2016).  His new projects consider instruments and instrumentalities; mail by cruise missile; and the intersections of disability, technology and perception. Visit his website at http://sterneworks.org .