Antares (Tara) Boyle is currently Assistant Professor of Music Theory at Portland State University, and previously served on the faculty of the University of Northern Colorado. Her research focuses on contemporary art music, ranging from that by European post-serial composers Salvatore Sciarrino and Harrison Birtwistle to Canadian minimalist Ann Southam and American jazz pianist Craig Taborn. Tara completed her PhD in music theory at the University of British Columbia in 2018. Her dissertation, which theorized segmentation and form in repetitive post-tonal music, was awarded the Society for Music Theory’s SMT-40 Dissertation Fellowship in 2018. Tara’s other research interests include theorizing musical meter, ostinato, and groove; the interactions between performance and analysis; and minimalist and process composition and improvisation. She has presented her research at various regional, national, and international conferences, including the annual meetings of the Society for Music Theory, the West Coast Conference of Music Theory and Analysis, the New England Conference of Music Theorists, the Rocky Mountain Society for Music Theory, and the Music Theory Society of the Mid-Atlantic. She serves as co-chair of the Society for Music Theory’s Post-1945 Music Analysis Interest Group. Tara is also an accomplished flutist. Before turning her attention to music theory, she earned a Master’s degree in flute performance from the Sydney Conservatorium of Music, won prizes in the International Sydney Flute Festival Competition and the Gisborne International Music Competition, and spent several years working as a freelance flutist in Los Angeles. She enjoys performing new music, especially as part of a duo with her husband, pianist Rory Cowal.
I am a music theorist and historian, with broad research and teaching interests in music analysis, contemporary film and video game music, pop music, and digital media. I received my Ph.D. from Harvard in 2017, and prior to beginning my current position at Gettysburg College, I taught courses on music theory and video game music at Tufts University. While in graduate school, I was a graduate fellow at Harvard’s Derek Bok Center for Teaching and Learning, and an editorial assistant for the Journal of the American Musicological Society (2013-2016). My most recent essays and conference presentations have addressed chromatic harmony (MTSMA 2018, 2019; SMT 2019); solo covers of pop songs on YouTube (Musicology Now, 2018; SMT 2019); indeterminacy in video game music (Journal of Sound & Music in Games, forthcoming); Hans Keller’s method of Functional Analysis (Music Analysis, 2019); David Lewin’s methodological writings (Music Theory and Analysis, 2018); and the analysis of popular music on social media and news websites (Analitica: Rivista online di studi musicali, 2018). My current research projects include drafting my first book, entitled Recomposition in Music Theory; compiling a collection of essays on Video Games and Popular Music; and ongoing research and writing on chromatic harmony
I am a music theorist and multidisciplinary scholar at Columbia University, as well as an improvising pianist and electronic musician, and composer. My current research project investigates intersections between black experimental music and music theory during the second half of the twentieth century, and asks us to rethinking who and what counts as a theorist/theory as a way of reshaping our work as researchers and pedagogues. I completed a dissertation in music theory in June 2019, which focuses on Muhal Richard Abrams, pianist, composer, improviser, and co-founder of the Association for the Advancement of Creative Musicians (AACM). My research synthesizes work from identity studies (primarily regarding race, gender, sexuality, and disability), music theory and analysis, history, critical improvisation studies, and embodied cognition, and my work appears in Music Theory Online, Women and Music, and Sound American. I has also performed and/or recorded with luminaries such as Tim Berne, Ingrid Laubrock, Tom Rainey, Tony Malaby, Ellery Eskelin, William Parker, and Jen Shyu. My music engages with issues of interaction, agency, cognition, and temporality, and in this sense intertwines with and informs my scholarly work.
I am a Postdoctoral Research Associate and Lecturer in the Department of Music at the University of Virginia. My research interests include the ethics of music analysis, feminist and queer theory, Schenkerian analysis, and affective autoethnography. My dissertation, “Analysis as Ethics: Experiments with Music Loving,” explores analysis as a loving, ethical practice through the perspectives of feminist music theory and new materialisms. I am currently developing a project that brings together writings on queer animacies of the nonhuman and theories of musical agency. My work on analytical ethics has been published in Music Theory Online. I have also presented my research at meetings of the Society for Music Theory, Music Theory Midwest, the American Musicological Society, and Feminist Theory and Music. My work has been supported by the Social Sciences and Humanities Research Council of Canada and the Institute for Research on Women and Gender at the University of Michigan. I am the co-chair of the SMT Queer Resource Interest Group.
Kelvin Lee is currently a PhD candidate in musicology at Durham University, where he works under the supervision of Professor Julian Horton. 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, fin-de-siècle modernism and global approaches to music history, theory and analysis. Situated at the intersection between music theory and the history of ideas, Kelvin’s doctoral thesis scrutinises the analytical implications of dialectical thought and addresses the impact of chromatic tonality on formal syntax in fin-de-siècle Viennese symphonic repertoire. His 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 of the journal Musurgia. He was also awarded the Society for Music Analysis Theory and Analysis Graduate Student Prize in 2018. 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.
…ce Study,” Journal of the Arnold Schönberg Center 15 (2018): 163–189.
Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy,” Theory and Practice 43 (2018): 111–130.
“Liquidation and Its Origins,” Journal of Music Theory 63/1 (Spring 2019): 71–102.
“Rethinking Repetition: Interrogating Schoenberg’s Writings,” Perspectives of New Music 57/1–2 (2019).
“The Theme of Webern’s Variations, Op. 27, Third Movement,” Music Theory and Analysis 6/1 (2019).
“Principles of Form.” In The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel. New York: Routledge, 2019….
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).
…Music and the Moving Image, May-June 2019
West Coast Conference of Music Theory and Analysis, May 2019…
Emily Vanchella is a third-year music theory graduate student at UCSB. Her primary research interest is the application of topic theory to British and American rock music from the 1960s, with a particular interest in the Beatles. She is also interested in music theory and animation; North Indian classical music; and questions of world music analysis. She plans to teach university-level music theory. In addition to her theory and teaching activities, Emily is an active performer on the sitar and enjoys singing and playing the guitar in her spare time. As an undergraduate, she served as the music theory tutor and a teaching assistant for the self-designed music history course MUS 206: Topics in Music (The Beatles). Her primary instrument in college was the classical and jazz guitar, and she enjoyed performing as an alto in the school gospel choir. She also debuted several original compositions and arrangements at Agnes Scott College, and with the Atlanta Guitar Orchestra.
Garrett Michaelsen is Assistant Professor of Musicianship and Music Theory at University of Massachusetts, Lowell. His work as a teacher, researcher, and performer is focused on improvisation in music. He co-designed the Musicianship and Analysis sequence at UML around the ways improvisation can be used to learn music theory and develop ear training. His research theorizes about the interactive group processes that structure jazz improvisations. And his performances as a trumpet player involve improvisation in jazz, avant-garde, tango, and other musical styles.
I am a Lecturer of Music Theory at the University of Massachusetts Amherst and recently completed my Ph.D. in Music Theory at Indiana University. My dissertation, “De fundamento discanti: Structure and Elaboration in Fourteenth-Century Diminished Counterpoint,” explores the compositional process described (both explicitly and implicitly) in the earliest counterpoint treatises in order to develop a historically-rooted methodology for structural analysis.