To be added, send the following to firstname.lastname@example.org with subject “PAIG.”
- Areas of Interest (as keywords – 20 word max)
- Introduction/Interests in prose (50 word max)
Student, New York University
Interests: late Romantic music (Wagner, Bruckner, Mahler), hierarchical models of tonal harmony.
I am a student of mathematics and music theory interested in the logic and structure of late Romantic music. I work primarily on Bruckner and am currently working on a project to investigate harmony in the Brucknerian symphonic coda. All my work aims to divine new approaches to understanding and effectively performing music.
PhD Student in Music Theory, University of Rochester
Interests: improvisation, embodiment, cognition, musical language acquisition, indeterminacy.
My research dwells at the intersection of improvisation, cognition, and pedagogy – specifically the acquisition of musical languages for use in improvisation, theoretical modeling of improvisational knowledge bases, and related issues of embodiment.
Lecturer on Music, Brandeis University & Visiting Research Fellow, The Royal Academy of Music, London
Interests: microtiming, rhythm, transcription, borrowing, recording, performance science, annotated scores, aesthetics.
My research explores the interplay of technology and technique in classical music, popular music, and jazz. In my book Music at Hand: Instruments, Bodies, and Cognition, I ask how instruments affect music’s sounding organization and players’ experience.
Professor of Music Theory, Eastman School of Music, University of Rochester
Interests: analysis, Barthes, Boulez, Brahms, creativity, composition, Debussy, microtiming, performance, philosophy, pianism, poststructuralism, psychology, Schenker, Schoenberg, Schumann, semiotics, vocality.
As a practitioner and theorist of Western art music, I have become increasingly convinced that the concerns of performance and analysis are not coextensive. I am particularly interested in the nature of gaps between theory and practice, whether slight or categorical.
Interests: phenomenology, recordings, close listening, 19th century chamber music, cognitive musicology, microtiming.
I take a qualitative, phenomenological approach to performance analysis with the aims of articulating the complexities of the listening experience, offering an alternative to quantitative approaches, and putting the results of this kind of engagement in dialogue with received music-theoretical categories and concepts.
Postdoctoral Fellow, Cognitive and Systematic Musicology Laboratory, Ohio State University
Interests: music cognition; music theory; musical analysis; expertise; expectation; statistical learning; computational modeling; emotion; ecologial acoustics; instrumentation; neuroscience.
I joined the Cognitive and Systematic Musicology Laboratory at Ohio State University as a Postdoctoral Research Fellow in September 2016. His primary research interests include the behavioral and neural correlates of musical expertise, uncertainty in melodic pitch expectations, computational modeling of statistical learning, musical emotions, and the evolutionary origins of human musicality and joint music making.
Assistant Professor of Performance Studies, UCLA Herb Alpert School of Music
Interests: gesture, embodied cognition, contemporary music, phenomenological approaches to analysis, mapping, Debussy, historically-informed performance practice (early Classical, late-Romantic), integration of practice and theory.
I am a professional pianist, historical keyboardist, composer as well as a music theorist focusing on embodied analysis. I engage practice and scholarship in a dialogic process to challenge contemporary concert practices.
Assistant Professor, McGill University (PAIG co-chair)
Interests: agency in musical performance, 18th century chamber music, rhythm and meter in tonal music, Schenkerian analysis.
I am a professional violist as well as a music theorist specializing in tonal music. In my book Mozart’s Music of Friends: Social Interplay in the Chamber Works, I combine a string player’s perspective with scholarly approaches to musical agency and sociability.
Associate Professor, Music Theory, University of Colorado Boulder
Interests: analysis and performance, rhythm, 20th– and 21st-c. music, Bartók.
My performance-related work centers on theorist-performer collaborations. In my forthcoming book Performing Knowledge: 20th-c. Music in Analysis and Performance (Oxford), each chapter focuses on a different 20th-c. work and is co-authored with a performer of that work. I am also an active chamber musician, and founding member of the new-music quartet Throw Down or Shut Up!
Professor Emeritus, CUNY Graduate Center
Interests: scores, analysis and performance.
As a performer (violinist/violist, Da Capo Chamber Players for 22 seasons, et al.) and professor/scholar, I study the interactions between composers (who create scores) and performers (who create music from composers’ notations), mostly focusing on all that is communicated via scores in addition to the notes.
Assistant Professor of Music Theory, Washington University in St. Louis
Interests: improvisation; intermedia; the Association for the Advancement of Creative Musicians (AACM); African American music; experimental music; jazz.
My book Message to Our Folks (2017) is the first history of the Art Ensemble of Chicago—the AACM’s flagship group—and the first in-depth study of the Art Ensemble’s music. With AACM saxophonist Fred Anderson, I am co-author of Exercises for the Creative Musician (2010), a method book for improvisers.
I am an active performer and theorists, with a DMA in double bass performance and a soon-to-be-completed PhD in music theory. I currently research meter perception in post-tonal music. As part of that project, I consider the performer’s role in manipulating the listener’s perception of meter.
Assistant Professor of Music Theory, University of Oklahoma
Interests: Beethoven, form theory, musical meaning, ontology, pedagogy of performance/theory, performance and analysis, recording analysis, Schenkerian theory.
I attempt to devise and pursue methodologies by which analysis informs performance in the sense of opening up imaginative performative possibilities. I am also interested in how analysis can contribute to and enhance one’s perceptions of recorded performances. Finally, I am keen to explore ontological models of the musical work in which performance is an integral rather than ancillary component.
Associate Professor, Brigham Young University
Interests: expressive asynchrony, expressive timing, rhythm and meter.
I’m interested in expressive asynchrony in piano performance and how this interacts with our perception of downbeats and meter.