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.
I’m a Senior Lecturer of Music Studies and Research at Queensland Conservatorium, Griffith University (Brisbane), and an Associate Researcher at the RITMO Centre for Interdisciplinary Study of Rhythm, Time and Motion (University of Oslo) and the Orpheus Institute (Ghent). I’m also a busy composer and improvising trombonist. My research is on musical interaction and improvisation, philosophy, temporal processes in African and Afro-diasporic musics, and feminist, queer, postcolonial and phenomenological approaches to thinking about music, including music analysis. I’m also deeply interested in music pedagogy. I edit the new online Practice Magazine (submissions accepted!), am Critical Forum Editor for Music Analysis, and will soon be soliciting contributions for a new book series on music and philosophy with Edinburgh University Press.
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 teacher and practitioner based in Kent, Specializing in electric guitar study and performance practices related to rock styles from blues through to metal and jazz fusion styles. Whilst at university I became interested in rock/popular music analysis, particularly regarding the study of heavy metal music and culture. Throughout my bachelors and masters degrees I have various written essays on heavy rock/metal music, with particular focus to the period of 1966-1996. My studies of rock and popular music are sometimes themselves underpinned by a study of the the electric guitar, as has been the case throughout my academic career. I analyse the nature of the electric guitar with regard to soloing, improvisation and on compositional habits. I believe my background as a performer and practitioner in ways helps to shape my approach towards musicology, balancing musical and critical analysis.
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.
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.
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
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.”
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.