Kelvin Lee is currently a PhD candidate in musicology at Durham University. His research interests include analysis of sonata form, theory of tonality, history of music theory, music in the nineteenth and early twentieth centuries, German modernism, analysis and performance, and in particular, the intersection between music theory and the history of ideas at the fin de siècle. Kelvin’s doctoral project focuses on the conception of form in the symphonic music of Mahler, Strauss and the Second Viennese School, in which he situates his analyses within the broader historical, philosophical and cultural context in the second half of the nineteenth century and draws on a mixture of approaches including theories of form, Neo-Riemannian theory, pitch-class set theory and critical theory. He has given papers at international conferences such as the Royal Musical Association Annual Conference, the Biennial International Conference on Music Since 1900/Surrey Music Analysis Conference, City Music Analysis Conference, Gruppo Analisi e Teoria Musicale International Music Theory and Analysis Conference, the Biennial Conference of Regional Association for East Asia, International Musicological Society and Indiana University GTA/GMA Symposium. Kelvin is also Chair of the Society for Music Analysis Formal Theory Study Group and the recipient of the Society for Music Analysis Theory and Analysis Graduate Students (TAGS) Prize in 2018.
I am a music theorist and musicologist interested in the analysis — broadly conceived — of extreme metal music. Issues that arise in analyzing this music, such as extreme loudness, rhythmic complexity and the literal and cultural resonances of screamed vocals, require critical examination of the tools of musical and cultural analysis, and facilitates reflection on how musical analysis deals with those issues across other repertoires. This kind of analytical work depends on engagement with multiple modalities of listening, and insists on the lived listening experience as a gateway to understanding sound.
I am a music theorist and media scholar with broad research and teaching interests in music analysis, contemporary film and video game music, pop music, and the history of music theory. I received my Ph.D. from Harvard in 2017, and prior to beginning my current position at Gettysburg College, I taught courses in music theory and video game music at Tufts University. While in graduate school, I also spent several years as a graduate fellow at Harvard’s Derek Bok Center for Teaching and Learning, and was an editorial assistant for the Journal of the American Musicological Society from 2013-2016. My most recent essays and conference presentations have addressed chromatic harmony & theory (MTSMA 2018); arrangements and solo covers of pop songs on YouTube (in Musicology Now); Hans Keller’s method of Functional Analysis (forthcoming in Music Analysis); David Lewin’s methodology of analysis (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; preliminary research for my second book project, Press Play on Tape: The Analog Sounds of Early Digital Games; and ongoing research and writing on chromatic harmony and on pop music & music theory in contemporary media.
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.
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.
Brad Osborn is Associate Professor of Music theory at the University of Kansas. He is the author of the monograph Everything in its Right Place: Analyzing Radiohead (Oxford University Press, 2016). Osborn’s other research on post-millennial rock music is published in Music Theory Spectrum, Perspectives of New Music, Music Analysis, and Music Theory Online. He is currently writing a monograph about MTV’s Buzz Clips, a series of music videos in the 1990s. Outside of academia, Brad writes and records shoegazey post-rock as the artist D’Archipelago, described by one recent critic as “synth droid-core for replicants.”
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 will combine manuscript study with digital analysis of melodic structures. My work has appeared, or is forthcoming, in Music Theory Spectrum, Perspectives of New Music, the Journal of Music Theory, the Journal of the Arnold Schönberg Center, Music Theory & Analysis, Theory and Practice, Music Analysis, the Journal of the Society for Musicology in Ireland, and Notes, as well as in edited collections including The Routledge Companion to Music Theory Pedagogy, for which I am writing the anchor article on musical form. A former member of the Society for Music Theory’s Executive Board, I am now Reviews Editor of Music Theory Spectrum. I also serve on the editorial board of Music & Politics and the organizing committee for Analytical Approaches to World Music, and I am the co-chair of the SMT’s Autographs and Archival Documents Interest Group as well as 2019 program committee chair for Music Theory Midwest. In summer 2019 I will be Visiting Professor at the Institut für Musikwissenschaft und Interpretationsforschung, Universität für Musik und darstellende Kunst Wien.
James Parsons is Professor of Music History at Missouri State University, where he has taught since 1995. He edited The Cambridge Companion to the Lied (Cambridge University Press) in 2004 and also contributed two essays, one on twentieth-century German song, the other devoted to that of the eighteenth century. Recent publications by him have appeared in the Journal of the American Musicological Society, Beethoven Forum, Companion to European Romanticism, Early Music, Music Analysis, Music & Letters, Music and Literature in German Romanticism, and Telos, and the 2011 edited volume Modernity from Schiller to the Frankfurt School (Bern: Peter Lang). Essays by him on twentieth-century Lieder by, respectively, Ernst Krenek and Hanns Eisler appear in Austrian Studies, exil.arte-Schriften (vol. 3), and Edinburgh German Yearbook (vol. 8). He has presented scholarly papers in the Czech Republic, England, Germany, Hungary, Ireland, Scotland, and widely throughout the United States. He currently is editor of the American Musicological Society Newsletter.
I am a PhD candidate in Music Theory at Indiana University and an Adjunct Faculty Member in the Theatre Conservatory of Roosevelt University’s Chicago College of Performing Arts. 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.