Directory

To be added, send the following to moses15@gmail.com with subject “PAIG.”

    • Name
    • Affiliation/Position/Occupation
    • Email
    • Website(s)
    • Areas of Interest (as keywords – 20 word max)
    • Introduction/Interests in prose (50 word max)

 

Bachani, Vishnu
Student, New York University
vbachani@nyu.edu
vishnubachani.com/music
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.

Barolsky, Daniel
Associate Professor of Music, Beloit College
barolskd@beloit.edu
https://www.beloit.edu/music/faculty/barolsky/ 
Interests: analysis of recordings, Glenn Gould, music historiography.

Beaudoin, Richard
Lecturer on Music, Brandeis University & Visiting Research Fellow, The Royal Academy of Music, London
richard@richardbeaudoin.com
www.richardbeaudoin.com
Interests: microtiming, rhythm, transcription, borrowing, recording, performance science, annotated scores, aesthetics.

De Souza, Jonathan
Assistant Professor, University of Western Ontario
jdesou22@uwo.ca
Interests: body-instrument interaction, music cognition, phenomenology, transformational theory.
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.

Friedman, Andrew
Lecturer, Boston College (PAIG co-chair)
friedm4@fas.harvard.edu
https://bc.academia.edu/AndyFriedman
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.

Ho, Jocelyn
Assistant Professor of Performance Studies, UCLA Herb Alpert School of Music
jocelynho@ucla.edu
www.jocelynho.com
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.

Klorman, Edward
Assistant Professor, McGill University (PAIG co-chair)
edward.klorman@mcgill.ca
http://www.edwardklorman.com
https://mcgill.academia.edu/EdwardKlorman
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.

Leong, Daphne
Associate Professor, Music Theory, University of Colorado Boulder
daphne.leong@colorado.edu
http://www.colorado.edu/music/daphne-leong 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!