MemberSean Atkinson

…Recent Publications

“Tonality in Steve Reich’s Nagoya Marimbas.” Music Theory and Analysis, 6/2, Fall 2019.

“Soaring Through the Sky: Topics and Tropes in Video Game Music.” Music Theory Online, 25.2, August, 2019.

“Creating Dynamic Media Examples: a Brief Tutorial.” Journal of Music Theory Pedagogy, Volume 33, 2019.

“The Musical Narrative of JRPGs: ‘Melodies of Life’ in Final Fantasy IX.” First Person Scholar, January 2019.

“Deceptive Love and Denied Endings: Tropes in the Music of Billy Joel.” Popular Music, Vol. 37, No. 3, October 2018….

Sean is currently Assistant Professor of Music Theory at the TCU School of Music where he teaches a wide range of courses, including Freshman and Sophomore music theory and aural skills, Form and Analysis, graduate seminars on music analysis and musical meaning, and a media studies class for the TCU Honors College. Prior to joining the faculty at TCU, Sean served on the music faculty at the University of Texas-Arlington. He has earned both the MM and PhD degrees in music theory from Florida State University and holds a BM in music theory and trombone performance from Furman University. While attending Florida State, Sean was nominated for the university-wide Outstanding Teaching Assistant Award. Sean’s research, which broadly address issues of musical meaning in multimedia contexts, has been published in numerous journals, including Music Theory Online, Indiana Theory Review, The Dutch Journal of Music Theory, and Popular Music. Sean is also active in the growing field of video game music (ludomusicology), with presentations at the North American Conference on Video Game Music and Music and the Moving Image. His article on Topics and Tropes in Video Game Music is published in Music Theory Online (25.2) and a chapter on the music in the game Final Fantasy IX is forthcoming in a collection that explores the work of video game composer Nobuo Uematsu (edited by Richard Anatone). Sean is also working on a monograph that explores the various ways music and media interact to create meaning. In 2018, Sean joined with a group of faculty from across campus to create No Quarters, an on-campus video game lab committed to the interdisciplinary research and teaching of video games. Housed in the TCU library, the lab allows students and teachers to explore a growing number of games and consoles, including virtual reality. At TCU, Sean is an active member of the faculty, currently serving as chair-elect of the Faculty Senate where he has been a member since 2016. As chair of the Senate’s Academic Excellence Committee, Sean helped bring a motion to the entire faculty that will add a Diversity. Equity, and Inclusion (DEI) requirement to TCU’s Core Curriculum.

MemberWilliam O'Hara

…“Collaboration, Communication, Cancellation: Sound and Music Development in Atari’s Film-to-Arcade Adaptations.” North American Conference on Video Game Music, Ithaca College, April 4-5, 2020.

“The Techné of YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers” Society for Music Theory Annual Meeting, Columbus, Ohio, November 2019.

“Neo-Riemannian Theory in Undergraduate Courses,” Society for Music Theory Annual Meeting, Columbus, Ohio, November 2019.

“Teaching with Video,” College Music Society Summit 2.0: Designing t…

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

MemberWilliam Gibbons

… In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, ed. Liz Greene and Danijela Kulezic-Wilson, 347–59. Hampshire and New York: Palgrave-Macmillan, 2016.

“Remixed Metaphors: Manipulating Classical Music and Its Meanings in Video Games.” In Ludomusicology: Approaches to Video Game Music, ed. Michiel Kamp, Tim Summers, and Mark Sweeney, 198–222. Sheffield, UK: Equinox, 2016.

“Game Audio.” In Debugging Game History: A Critical Lexicon, ed. Raiford Guins and Henry Lowood, 159–168. Cambridge: MIT Press, 2016.           

“Wandering Tonalities: Silence, Sound, and…

Associate Professor of Musicology and Associate Dean of the College of Fine Arts at Texas Christian University

MemberKaren Cook

…ying with Fire (and Other Natural Disasters): The Sounds of Climate Change in Sid Meier’s Civilization VI: Gathering Storm (revised),” Responses in Music to Climate Change, The Graduate Center (CUNY), April 21–23, 2020.
“Jun Chikuma’s Soundtrack for Faxanadu,” North American Conference on Video Game Music 7, Ithaca College, Apr 4-5, 2020
‘All that High-Q Stuff’: Opera and the Superficial Highbrow in Cheers and Frasier,” Opera and Popular Culture Conference, Texas Christian University, Feb 2020. (accepted; unable to present)
… by Kirsten Yri and Stephen Meyer, 750-63. Oxford: Oxford University Press, 2020.
“Canon Anxiety?” In “Colloquy: Canons of Game Music and Sound,” Karen M. Cook, William Gibbons, Julianne Grasso, and Hyeonjin Park, Journal of Sound & Music in Games 1, no. 1 (2020): 95–99
“Medievalism and Emotions in Video Game Music.” postmedieval 10, no. 4 (Dec 2019): 482–497.
Review of The Montpellier Codex: The Final Fascicle, Contents, Contexts, Chronologies, edited by Catherine A. Bradley and Karen Desmond (Boydell Press, 2018). Notes: Quarterly Journal of the Music Library Association (2019): 250-53.
“ ‘The Th…

I am associate professor of music history at the Hartt School at the University of Hartford in West Hartford, Connecticut. My main areas of focus are on late medieval notation, theory, and performance; medievalism; and contemporary pop music, jazz, and music in media such as film, television, and video games. Additionally, I am an active singer, performer, and conductor of both early and contemporary music.

MemberIvan Mouraviev

I graduated in 2018 with a Bachelor of Music (Hons) in musicology from The University of Auckland. My dissertation investigated how players relate to music in the digital game Dota 2 with respect to style, affect, and agency. I will continue studying music internationally, focusing in my research on music, media, and popular culture.

MemberJonathan Godsall

Jonathan is primarily a musicologist, with overlapping research interests in music and screen media, musical intertextuality, and musical reception. He also performs as a drummer and percussionist in various contexts. Jonathan was awarded his PhD in musicology from the University of Bristol in 2014. His research on screen-music topics is published and forthcoming in journals and edited books, as well as in his monograph, ‘Reeled In: Pre-existing Music in Narrative Film’ (Routledge, 2019). Jonathan is currently Teaching Fellow in Music at Royal Holloway, University of London. He has previously taught music at the University of Cambridge, the University of Bristol, Oxford Brookes University, Plymouth University, Keele University, and City, University of London. He is a Fellow of the Higher Education Academy.

MemberTiffany Funk

Tiffany Funk (PhD) is an artist, critical theorist, and researcher specializing in emerging media, computer art, video games, and performance art practices. She is the Editor-in-Chief of the Video Game Art Reader and Co-founding Lecturer and Academic Advisor of IDEAS (Interdisciplinary Education in the Arts)—an intermedia, theory and practice-based Bachelor of Arts degree at the University of Illinois at Chicago.

MemberAlenda Chang

Alenda Y. Chang is an Associate Professor in Film and Media Studies at UC Santa Barbara. With a multidisciplinary background in biology, literature, and film, she specializes in merging ecocritical theory with the analysis of contemporary media. Her writing has been featured in Ant Spider BeeInterdisciplinary Studies in Literature and EnvironmentQui Parle, the Journal of Gaming & Virtual Worlds, and Ecozon@, and her first book Playing Nature: Ecology in Video Games (forthcoming University of Minnesota Press), develops ecological frameworks for understanding and designing digital games. Along with Film and Media Studies professor Laila Shereen Sakr, Chang is also the co-founder of the digital media studio Wireframe (Music 1410). Wireframe was established to support collaborative and cutting-edge research and teaching in new media, with an emphasis on global human rights, social justice, and environmental concerns. Located adjacent to the Digital Arts and Humanities Commons, the studio provides a space for production and critical engagement across media including games, data visualization, installation art, virtual/augmented reality, projection mapping, performance and installation, livestreaming, 3D modeling, mobile apps, and social media.