JUSTIN M.
LONDON
CURRICULUM VITAE
EDUCATION
Ph.D. in the History and Theory of Music, University of
Pennsylvania, 1990.
Dissertation: The interaction between
meter and phrase beginnings and endings in the mature instrumental music of
Haydn and Mozart. Advisor: Leonard B. Meyer.
Studies with Leonard Meyer, Eugene Narmour,
Thomas Christensen, Lawrence F. Bernstein, Jeffrey Kallberg,
Norman Smith, and Eugene Wolf. Study in linguistics with Ellen Prince.
M.M. in Music Theory, University of Cincinnati,
College-Conservatory of Music, 1986.
Master's Thesis: A Phenomenological and
Linguistic Analysis of Surface Harmonies in Three Mozart Piano Sonatas. Advisor: Jonathan Kramer.
B.M. in Classical Guitar performance, summa cum laude,
University of Cincinnati College-Conservatory of Music, 1982.
FELLOWSHIPS, GRANTS AND AWARDS
with Ronald Rodman, Curricular Research and Development Grant, Carleton College, Summer 2008, to support revisions to the music theory couse sequence.
Roth Faculty Development Fund "Targeted Opportunity Grant," Carleton College, Fall 2007 and Fall 2008, to support tenure as President of the Society for Music Theory.
Guest Professor, International Orpheus Academy for Music & Theory on Tempo, Meter, Rhythm: Time in Music after 1950, Ghent, Belgium, April 2007.
Visiting Scholar, Florida State University, Tallahassee, FL, March 2007.
Fulbright UK Distinguished Scholars Lecturing/Research Grant, Centre for
Music and Science and Faculty of Music, University of Cambridge, Fall 2005-Spring 2006.
Visiting Fellow, Wolfson College, Cambridge, Fall 2005-Spring 2006.
Fellow and Workshop Leader, Mannes Institute for Advanced Studies in
Music Theory, institute on Rhythm and Temporality, June 2005.
Fellow, Mannes Institute for Advanced Studies in Music Theory, June
2004 and June 2001.
Publication Subventions for Hearing in Time (Oxford University
Press) from the Society for Music Theory, the Lloyd Hibberd Publication Endowment Fund of the American
Musicological Society, and the Faculty Research Fund of Carleton College,
2002.
Mellon Endowment Fellowship, Carleton College, for extended sabbatical
leave, Fall 2000-Spring 2001.
Carleton Faculty Development Grant (large grant) for extended sabbatical leave, Spring 1997.
Carleton Curricular Computing Grant, for the development
of an electronic harmony text and workbook, July-August 1996.
Carleton Faculty Development Grant (small grant) for summer travel, July
1994.
Honorary Fellow at the Institute for Research in the Humanities, University
of Wisconsin, Madison, Fall 1993.
NEH Summer Seminar for College Teachers on The
Temporal Art of Music, Columbia University, June-July 1993.
Carleton Faculty Development Grant Awards (small grants) for summer
research, June 1991 and August 1993.
Paul Rochberg Memorial
Fellowship and Michael Hurley Cross Scholarship, University of Pennsylvania,
1987-89.
Research Fellow to Professor Leonard B. Meyer, 1984-85.
University Graduate Assistantship Award, University of
Cincinnati College-Conservatory of Music, 1982-84.
Award for outstanding musical achievement, University of
Cincinnati College-Conservatory of Music, 1982.
Wilder Scholarship, Cincinnati College-Conservatory of Music, 1979.
FORTHCOMING PUBLICATIONS
Third Party Uses of Music and Musical Pragmatics. Journal of Aesthetics and Art Criticism, (2008).
Temporal Complexity in Modern and Post-Modern Music: A Critique from Cognitive Aesthetics. in Writings of the Orpheus Institute, vol. 9, Leuven University Press (2008).
PUBLISHED BOOKS
Hearing in Time, Oxford University Press (August 2004).
PUBLISHED CHAPTERS, ARTICLES, and REVIEWS
Review of Conceptualizing Music: Cognitive Structure, Theory, and Analysis by Lawrence M. Zbikowski. Music Theory Spectrum 29.1 (2007): 115-125.
Musical Rhythm: Motion, Pace and Gesture. in Music and Gesture, ed. A. Gritten and E. King, Aldershot: Ashgate (2006): 126-141.
B. Repp, J. London, and P.
Keller, Production and Synchronization of Uneven Rhythms at Fast Tempi. Music
Perception 23.2
(2005): 61-78.
Recent Rhythmic Research in North American Music Theory.
Zeitschrift der Gesellschaft
für Musiktheorie,
2, (2005). http://www.gmth.de/www/artikel/2005-04-11_08-11-51_7/
Some Non-Isomorphisms between
Pitch and Time. Journal of Music Theory 46.1&2 (2002):
127-151.
Review of Tonal Pitch Space by Fred Lerdahl.
Music Perception 20.2 (2002): 201-216.
Some Theories of Emotion in Music and Their Implications
for Research in Music Psychology. Musicae
Scientiae Special Issue: Current Trends in the Study of Music and Emotion
(2001/2002): 23-35.
Cognitive Constraints on Metric Systems: Some Observations
and Hypotheses. Music Perception 19.4 (2002): 529-550.
Rhythm in Twentieth-Century Theory. in The Cambridge
History of Western Music Theory, ed. Thomas Christensen, Cambridge:
Cambridge University Press (2002): 695-725.
A Cohenian Approach to Musical
Expression. Journal of Aesthetics and Art Criticism 60.2 (2002):
182-85.
Review of Musical Performance: A Philosophical Study
by Stan Godlovitch. Journal of Aesthetics
and Art Criticism 59.3 (2001): 339-41.
Review of Of Mind and Music by Laird
Addis and The Philosophy and Aesthetics of Music by Edward W. Lippman. Music Theory Spectrum 23.1 (2001): 108-17.
Rhythm. in The New Grove Dictionary of Music and
Musicians, revised edition, John Tyrrell and Stanley Sadie, eds. Vol. 21,
pp. 277-309. A main entry of 22,000 words (plus
bibliography), along with shorter (500 word) entries on Metre,
Pulse, Tempo, and Time. Grove Dictionaries (2001).
Musical Leitmotivs in Cinema and Proper Names in Language:
Structural and Functional Parallels. in Music
and Cinema, ed. James Buhler, Caryl Flinn, and David Neumeyer. Weslyan University Press (2000): 85-96.
Hasty's Dichotomy, a review-essay of Rhythm as
Meter, by Christopher Hasty. Music Theory Spectrum 21.1 (1999):
260-74.
Review of Music in the Moment by Jerrold Levinson.
Journal of the American Musicological Society 52.1 (1999): 156-62.
Concatenationism and Musical Form, an introduction to Music in the Moment: A
Discussion. Music Perception 16.4 (1999): 463-67.
with Ronald Rodman: Musical Genre and Schenkerian Analysis. Journal of Music Theory 43.1
(1998): 101-124.
A Different Species of Counterpoint. Journal of
Music Theory Pedagogy 12 (1998): 105-10.
A Different Response to Killam.
Music Theory Online 3.4 (1997).
Review of Shaping Time: Music, the Brain, and
Performance by David
Epstein. MLA Notes (June 1997): 1128-32.
Lerdahl and Jackendoff's 'Strong
Reduction Hypothesis' and the Limits of Analytical Description. In
Theory Only, 13.1-4 (1997): 3-29.
Hearing is Believing? A
review-essay of Mark Debellis's Music and
Conceptualization. Current Musicology 60-61 (1996): 111-31.
A Psychological Addendum to 'Takadimi: A
Beat-Oriented System of Rhythm Pedagogy.' Journal of Music Theory Pedagogy
10 (1996): 25-30.
Musical and Linguistic Speech Acts. Journal of
Aesthetics and Art Criticism 54.1 (1996): 49-64.
Some Examples of Complex Meters and Their Implications for
Models of Metric Perception. Music Perception 13.1 (1995): 59-77.
Misquoting Meyer: A Response to Cochrane. Music Theory Online 1.3 (1995).
Review of The Fine Art of Repetition by
Peter Kivy and Language, Music and Mind by Diana Raffman.
Music Theory Spectrum 14.2 (1994): 267-75.
Loud Rests and Other Strange Metric Phenomena (or, Meter
as Heard). Music Theory Online 0.2 (1993).
Report on the Second International Conference on Music Perception and
Cognition. Journal of Musicology 10.4 (1992): 537-545.
Metric Ambiguity (?) in J.S. Bach's Third Brandenburg
Concerto: A Reply to Botelho. In Theory
Only 9.7-8 (1991): 21-53.
Music Notation Programs in the Theory Classroom and in Research. Journal
of Computers in Music Research 2 (1990): 145-170.
Riepel
and Absatz: Poetic and Prosaic Aspects of Phrase
Structure in Eighteenth-Century Theory. Journal of Musicology 7.4
(1990): 505-519.
One Step Up--A Lesson from Popular Music. Journal
of Music Theory Pedagogy 4.1 (1990): 111-14.
Phrase Structure in Eighteenth and Nineteenth Century Theory: An Overview. Music
Research Forum 5 (1990): 13-50.
Two Kinds of Accent: Further Thoughts on Phrase Structure.
Soundboard 15 (Spring 1988): 25-27.
PRESENTATIONS (including forthcoming presentations)
The Aesthetic Import of Metrical Ambiguity. Keynote Address, 15th Biennial Symposium for Research in Music Theory, Indiana University, February 2008.
Metrical Snipe Hunting in the Psychology Lab, biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.
with Ian Cross and Tommi Himberg:
The Effect of Interval Size and Direction on the Perception of Anacruses, biannual meeting of the Society for Music Perception and Cognition, Montreal, Canada, August 2007.
with Ian Cross and Tommi Himberg:
Structural and Performance Factors in the Perception of Anacruses, 11th Rhythm Perception and Production Workshop, Dublin, Ireland, July 2007.
'What is Metric Well Formedness,' 'How to Talk about Musical Meter: Psychological and Cross-Cultural
Perspectives,' and 'A Skeptical View of Music Theory Pedagogy,' Florida State University, Tallahassee, FL, March 2007.
‘The Perception and Cognition of Rhythm and Time’ and
‘Temporality in Modern and Post-Modern Music: A Critique from Cognitive
Aesthetics,’ International Orpheus Academy for
Music & Theory on Tempo, Meter, Rhythm: Time in Music after 1950,
Ghent, Belgium, April 2007.
High Water Everywhere: Finding Dylan in the Delta. American Studies Lecture, Carleton College, January 2007.
How to Talk about Musical Meter: Psychological and Cross-Cultural Perspectives, colloquium talk, University of Minnesota, Minneapolis, MN November 2006.
with Ian Cross and Tommi Himberg:
The Effect of Tempo on the Perception of Anacruses, 9th International Conference on Music
Perception and Cognition, Bologna, Italy, August 2006.
How to Talk About Music Meter: Psychological and Cross-Cultural
Perspectives, colloquium talks given at The University of Nottingham, The
University of Hull, Oxford University, Goldsmiths College, Sheffield
University, The Open University, Queen Mary’s University of London, Keele University, Cambridge University, and City University
of London, January-May 2006.
Entrainment or Entrainments? Questions for Theories of Musical Meter, Entrainment in Music Research Meeting III, Cambridge UK, December 2005.
Authenticity in Outsider Music: No Commercial Potential, No Lessons
Required, annual meeting of the American Society for Aesthetics, Houston, TX, October 2004.
with Peter Keller and Bruno Repp: Production and
Synchronization of Uneven Rhythms at Fast Tempi, 8th
International Conference on Music Perception and Cognition, Evanston, IL,
August 2004.
What's my repertoire? It's
ALL my repertoire: A different kind of analytical empiricism, invited
presentation and panelist, West Coast Conference of Music
Theory and Analysis, UCSB, Santa Barbara, CA, April 2004.
Hearing Rhythmic Gestures: Moving Bodies and Embodied Minds, Keynote Address, Music and Gesture Conference, University of East Anglia,
Norwich, August 2003.
How to Talk about Meter: Cognitive and Cross-Cultural Perspectives,
colloquium presentation, Northwestern University, February 2003.
Temporal Asymmetries as Period Markers in Isochronous and Non-Isochronous
Meters, 7th International Conference on Music Perception and
Cognition, Sydney, Australia, July 2002.
with Ed W. Large, Non-Isochronous Accent Structures and Meter Perception,7th International Conference on Music Perception and Cognition,
Sydney, Australia, July 2002.
Cognitive Constraints on Metric Systems: Some Observations
and Hypotheses, colloquium presentation, Monash
University, Melbourne, Australia, July 2002.
Some Non-Isomorphisms Between Pitch and Time,
annual meeting of Music Theory Midwest, Cincinnati,
OH, April 2001.
Hierarchic Representations of Complex Meters, 6th International Conference on Music Perception
and Cognition, Keele, UK, August 2000.
Musical Expression and Musical Meaning in Context, 6th
International Conference on Music Perception and Cognition, Keele, UK, August 2000.
Maria is Hopeful, annual meeting of the Pacific division of the
American Society for Aesthetics, Pacific Grove, CA, March,
2000.
Mapping Metrical Particularity: Some Hierarchical and Psychological
Considerations, annual meeting of the Society for Music Theory,
Atlanta, GA, November 1999.
Quantitas Intrinseca:
17th- and 18th-century Studies in Timing and Dynamics, biannual
meeting of the Society for Music Perception and Cognition, Evanston,
IL, August 1999.
How Many Meters? Cognitive Constraints on Metric
Hierarchies, biannual meeting of the Society for Music
Perception and Cognition, Evanston, IL, August 1999.
Structural Hearing and Jerrold Levinson's Music in the Moment, annual meeting of the American Society for Aesthetics, Bloomington,
IN, November 1998.
Fernhören is Bunk: Jerrold Levinson's Music
in the Moment, colloquium presentations, U.C. Berkeley and Stanford
Universities, October 1998.
Can You Hear Two Meters at Once? Metric Ambiguity, Metric Vagueness, and
Music Theory, biannual meeting of the Society for Music
Perception and Cognition, Cambridge, MA, August 1997.
Who is Robert Johnson and Why Are We Looking for
Him in the Delta?, The Rock and Roll Hall of Fame and
Museum, to the Cleveland area Carleton Alumni Club, Cleveland OH, July 1997.
Meter Casts No Shadows, colloquium presentation, the University of
Cincinnati College-Conservatory of Music, 21 February 1997.
Hypermeter in the Delta Blues, colloquium presentations,
University of Iowa, 18 September 1996, and at the University of Cincinnati's
College-Conservatory of Music, 21 February 1997.
The Binary Bias of metric subdivision and the relative
complexity of various meters, or, why is 9/8 so rare? (poster session
presentation), annual meeting of the Society for Music Theory,
Baton Rouge, LA, November 1996.
The Binary Bias of Metric Subdivision and the Relative Complexity of Various
Meters, or, Why is 9/8 so Rare?, the 4th International Conference
on Music Perception and Cognition, Montreal, Quebec, August 1996.
The Irregular Hypermetric Structure of the Early Delta
Blues, annual meeting of Music Theory Midwest, Kalamazoo,
MI, May 1996.
The Temporal Limits to Meter: Some Perceptual Considerations for the Music
Theorist (poster session presentation), annual meeting of the Society
for Music Theory, Tallahassee, FL, November 1994.
The 'Strong Reduction Hypothesis' of Lerdahl and Jackendoff's
A Generative Theory of Tonal Music, 3d International
Conference on Music Perception and Cognition, Liège,
Belgium, 23-27 July 1994.
The Temporal Limits to Meter, 3d
International Conference on Music Perception and Cognition, Liège, Belgium, 23-27 July 1994.
Music and Language: Untangling a Gordian Knot, Phi
Beta Kappa lecture, Carleton College, 16 February 1994.
Music, Language, and Meaning: Unpacking a Messy Metaphor, colloquium presentation, Institute for Research in the Humanities, University of Wisconsin-Madison, 13 December 1993.
Musical Humor and Speech-Act Theory, University of Wisconsin- Madison Music History and Music Theory
Colloquium Series, 12 November 1993.
Lerdahl and Jackendoff's 'Strong Reduction
Hypothesis' and the Limits of Analytic Description, part of a special session
dedicated to the tenth anniversary of Lerdahl and Jackendoff's
A Generative Theory of Tonal Music, joint meeting of the American
Musicological Society and the Society for Music Theory, 5
November 1993, Montreal, Quebec.
The Cognitive Implications of a Dynamic Theory of Meter,
biannual meeting of the Society for Music Perception and
Cognition, 17 June 1993, Philadelphia, PA.
Getting the Joke in Haydn's Quartet Opus 33, no. 2: Linguistic Competence
and Musical Cognition,2nd
International Conference on Music Perception and Cognition, The
University of California, 25 Feb. 1992, Los Angeles, CA.
Getting the Joke in the 'Joke' Quartet: Haydn and the
Relationship between Music and Language, Music
Department Lecture Series of Pomona College, 21 Feb. 1992, Claremont, CA.
The Extended Anacrusis and the Permeability of Hierarchic Levels,
annual meeting of the Society for Music Theory, October 1991,
Cincinnati, OH.
The Extended Anacrusis and the Permeability of Hierarchic Levels: the
opening measures of Mozart's G-minor Symphony, K.550, annual
meeting of Music Theory Midwest, 19 May 1991, Kansas City, MO.
Hierarchic Theories versus Hierarchic Facts: an argument against recursive
theories of musical structure, annual meeting of the Society
for Music Theory, 27 October 1989, Austin, TX.
The Historical Background of Hierarchic Models of Music, mid-Atlantic chapter meeting of the American Musicological Society,
February 25th, 1989, Philadelphia, PA.
PANELS AND SESSION CHAIRS
Music Cognition Interest Group Panel on Hearing in Time, annual meeting of The Society for Music Theory, Baltimore, MD, November 2008.
Session Chair: Meter I, at the biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.
Invited Panelist, "What is the Beat and Why Study Metrical Processing", at the biannual meeting of The Society for Music Perception and Cognition, Montreal, Canada, August 2007.
Session Chair: Syncopation, Rhythm, Hypermeter, at the annual meeting of The Society for Music Theory, Los Angeles CA, November 2006.
Session Chair: Rhythm and Meter, at the annual meeting of Music
Theory Midwest, Oberlin OH, May 2005.
Session Chair: Rhythm III: Meter, at the 8th International Conference on Music
Perception and Cognition, Evanston, IL, August 2004.
Invited Panel Participant: Music Theory and Analysis
Outside the Canon at the West Coast Conference on Music Theory and Analysis,
San Diego, CA, April 2004.
Session Chair: Cognition and Temporality, at the annual
meeting of the Society for Music Theory, Madison, WI, November 2003.
Session Chair: Author Meets Critics, at the American Society for
Aesthetics Pacific Division Meeting, Asilomar,
CA, April 2003.
Invited Panel Participant: Music, Popular Culture, and the Academy, at the
conference on Popular Music and American Culture held at the Center
for American Music, Austin, TX, November 2002.
Session Chair: Music and the Western, conference on Popular Music and
American Culture held at the Center for American Music, Austin, TX, November 2002.
Invited Panel Participant: Temporal Aspects of Human Behavior: Theory &
Methods, symposium held at the MARCS lab, University of Western Sydney, Australia,
July 2002.
Session Chair: Sensorimotor Synchronization, 7th
International Conference on Music Perception and Cognition, Sydney,
Australia, July 2002.
Session Chair: Selected Issues in Tonality, biannual
meeting of the Society for Music Perception and Cognition, Kingston,
Ontario, August 2001.
Session Chair: Rhythm and Romanticism, annual meeting of Music Theory
Midwest, Appleton, WI, May 2000.
Invited Panel participant: Preparing an effective tenure case: SMT Committee
on Professional Development., annual meeting of the Society for Music
Theory, Atlanta, GA, November 1999
Session Chair: Rhythm, annual meeting of the Society
for Music Perception and Cognition, Evanston, IL, August 1999.
Session moderator: Jerrold Levinson's Music in the Moment, annual meeting of
the Society for Music Theory, Chapel Hill, NC, December 1998
Session chair: Hermeneutic Connections annual meeting of Music
Theory Midwest, Northfield, MN, May 1998.
Session respondent: Peter Kivy on Genius in Music,
Pacific Division Meeting of the American Society for Aesthetics,
Monterey, CA, April 1998.
Invited Panel participant: Publishing in Popular Music Journals, (as
Associate Editor of Music Theory Online) at the annual meeting of the International
Association for the Study of Popular Music, Denver, CO, October 1996.
Organized special session on Lerdahl and Jackendoff's A Generative Theory of Tonal Music: Ten Years
After for the annual meeting of the Society for Music Theory,
Montreal, Quebec, November 1993.
Session chair, Tonality at the bi-annual meeting of the Society
for Music Perception and Cognition, Philadelphia, PA, June 1993.
Session chair, Pop Music and Music Theory Pedagogy at the
1992 annual meeting of Music Theory Midwest.
WORK IN PROGRESS
How to Do Things With Notes. A monograph on music-as-discourse, based on speech-act theories of
J.L. Austin, H. Paul Grice, and John R. Searle. Drawing on my earlier
work on musical speech acts, film music, and musical humor, this book will
examine the performative aspects of music and musical
gestures. Among the topics it will address are: Musical
motives, proper names, and the possibility of musical reference; Musical
meaning without sense and reference (?); Musical jokes versus musical mistakes;
Musical illocution and musical expression; and Compositional intention and
musical behavior.
The Effect of Tempo on the Perception of Anacruses. Collaborative Research with Ian Cross and Tommi Himberg (Centre for Music and Science, Cambridge University). A series of experiments is underway testing the effect of tempo on downbeat placement relative to durational structure. Preliminary results have been presented at the
Entrainment in Music Research workshop, Meeting IV, Boca Raton, FL, May 2006 and at the 9th International Conference on Music Perception and Cognition (Bologna, August 2006). Additional experiments to be completed by mid-2007, with submission for publication soon thereafter.
Collaborative Research with Bruno Repp (Yale
University Haskins Laboratories) and Peter Keller (Max Planck
Institute for Human Cognitive and Brain Sciences, Munich): Experiments have been run examining the ability of subjects to tap in
synchrony with various patterns of non-isochronous beats at a variety of
moderate-to-rapid tempos. Our first round of experimental research was
presented at the 8th International Conference on Music
Perception and Cognition (Evanston, IL, August 2004) and published as B. Repp, J. London, and P. Keller, "Production and Synchronization of Uneven Rhythms at Fast Tempi." Music Perception 23.2 (2005): 61-78. Additional research will explore other non-isochronous beat patterns
at a broader range of tempi.
Collaborative Research with Edward W. Large (Center for Complex
Systems and Brain Science Florida Atlantic University): Our initial research
has modeled the perception of non-isochronous accent structures using a
neural-network simulation of an oscillation-based model of meter perception.
Preliminary results presented at the 7th International
Conference on Music Perception and Cognition (Sydney, Australia, July 2002).
TEACHING EXPERIENCE/COURSES TAUGHT
Carleton College, Professor of Music 2002-present;
Associate Professor 1996-2002; Assistant Professor 1990-1996; Visiting
Instructor 1989-1990. Principal teaching responsibility is the music
theory sequence for music majors, which includes harmony, dictation, solfegge, and formal analysis (Music 200, 201, and
300--formerly Music 30, 31, and 32). Music 302 covers the Analysis of
Twentieth-Century Music, from Debussy through minimalism. Music 131, From the
Delta to Memphis is an introduction to the historical, analytical, critical,
and sociological study of music through the examination of the evolution from
the Delta Blues to early Rock and Roll styles. Emphasis is on fundamental
analytic skills and their application to the assessment of changing musical
styles, as well as on understanding the differences between music in an oral
versus a written tradition. Music 227, The Perception and Cognition of Music, is an introduction to historical and current research in the perception and cognition of pitch and rhythm. Music 239 (also taught as a Freshman Seminar), The Philosophy of Music, is an
introduction to musical aesthetics. Topics discussed include:
musical expression, musical representation and reference, authenticity in
interpretation and performance, and assessments of musical value. Music 109,
Writing About Music, revolves around the writing and
revision of four essays: a descriptive analysis of a piece of music, a critical
review of a performance or recording, a historical account of a piece of music
as would be suitable for a program note, and an interpretive essay.
University of Pennsylvania, Teaching fellow
1985-87. Taught Music 20 and 21, Introductory survey
of Western music for non-majors.
TEACHING AREAS
Music History: general survey of Western music;
topics in eighteenth-century music, including Haydn and Mozart, history of the
symphony and the evolution of the Classical style; history of the blues and
popular music.
Music Theory: core curriculum in theory and analysis; graduate theory
review; 16th- and 18th-century counterpoint; tonal harmony; introduction to Schenkerian analysis; set theory; history of theory in the
18th and 19th centuries; topics in rhythm and meter; linguistic approaches to
music; musical time and temporality; music perception, cognition, and the
psychology of music.
Philosophy and Aesthetics: Speech-act theory and
pragmatics; introductory aesthetics; the philosophy of music.
MUSICAL INTERESTS
While still an active classical guitarist, I also manage to practice and
perform in jazz, bluegrass, and (especially) blues guitar idioms. Given my
research interest in the Delta Blues repertoire, I am exploring bottleneck
(also known as slide) style of guitar playing so as to
enhance my understanding and teaching of that repertoire.
CARLETON COLLEGE SERVICE ACTIVITIES
Chair, Admissions and Financial Aid Committee, 2007-2009.
Benefits Committee, 2006-2007.
Chair, Department of Music, 2001-2004.
Chair, Admissions and Financial Aid Committee, 1996-1998.
PROFESSIONAL SERVICE ACTIVITIES
President (elected), Society for Music Theory, (President-Elect 2006-2007; President 2007-2009; Past-President 2009-2010).
Bylaws Review Committee (Presidential Appointee), Society for Music
Theory, 2003-2007.
Candidate: Board of Trustees of the American Society for Aesthetics, 2005.
Program Committee for the 2004 Annual Meeting, American Society for
Aesthetics.
Member, Editorial Board, Music Theory Spectrum, 2003-2005.
SMT 25 Committee (Presidential Appointee), Society for Music Theory,
2002-2005.
Secretary/Treasurer (elected), Society for Music Perception and Cognition,
2002-2005.
Member (elected), Executive Board, Society for Music Theory, 2000-2003.
Nominating Committee, Music Theory Midwest, Fall
2003.
Member (elected), Board of Directors, Society for Music Perception and
Cognition, 1999-2001.
Treasurer (elected), Music Theory Midwest 1997-99 and 1999-2001.
Member, Editorial Board, Journal of Music Theory Pedagogy 1992-1999.
Member, Editorial Board, Music Theory Online 1992-1998.
Local Arrangements Committee member for the 1997 meeting
of Music Theory Midwest, May 16-17, 1997, at Carleton College.
Executive Board Member (elected), Music Theory Midwest 1995-97.
Bylaws Review Committee Chair (Presidential Appointee), Society for Music
Theory 1993-95.
Member of the Program Committee for the 1993 meeting of Music
Theory Midwest.
Incorporator and Corporate Agent for Music Theory
Midwest, 1992-present (incorporated in the state of Minnesota in June of
1992. Successfully filed for 501 (c) (3) status
with the IRS in the summer of 1993.
Manuscript reviews for the Music Theory Spectrum, The Journal of
Aesthetics and Art Criticism, The Journal of Musicological Research, Music
Perception, Journal of Music Theory Pedagogy, Current Musicology, Music Theory
Online, Eighteenth-Century Music, Cambridge University Press, Oxford University Press, Ashgate, and W.W.
Norton, Inc.