AboutI’m an Associate Professor at Columbia University. My research focuses on the emergence of musical meaning in contemporary art music, the development and cognitive bases of musical experience, and the phenomenology of bodily interactions in musical behavior. My monograph, titled Enacting Musical Time (available now through Oxford University Press), examines how listeners’ understanding and experience of musical time are shaped by bodily actions and gestures.
EducationPhD, Music Theory and History, University of Chicago (2012)
MM, Music Theory, University of New Mexico (2006)
MM, Violin Performance and Literature, Eastman School of Music (2003)
BM, Violin Performance, University of New Mexico (2000)
Work Shared in CORE
Other PublicationsEnacting Musical Time: The Bodily Experience of New Music (Oxford University Press, 2020). “Experiencing Structure in Penderecki’s Threnody: Analysis, Ear-Training, and Musical Understanding.” Music Theory Spectrum
38, no. 2 (Fall 2016). “Listeners’ Bodies in Music Analysis: Gestures, Motor Intentionality, and Models.” Music Theory Online
21, no. 3 (September 2015).
Kozak, Mariusz, Kristian Nymoen, and Rolf Inge Godøy. “Effects of Spectral Features of Sound on Gesture Type and Timing.” Gesture and Sign Language in Human-Computer Interaction and Embodied Communication,
ed. Eleni Efthimiou, Georgios Kouroupetroglou, and Stavroula-Evita Fotinea. Lecture Notes in Artificial Intelligence
7206: 69–80 (2012). Review of Intimate Voices: The Twentieth Century String Quartet
, ed. Evan Jones In Music Theory Online
18, no. 2 (June 2012).