Book-length examination of the musical, artistic, and aesthetic practices of the American experimental composer and saxophonist, John Zorn.

The Smiths are one of the most commercially successful and in uential bands to emerge from the British post-punk movement in the 1980s. Along with elements such as lyrics, harmony, and musical form, a key component of The Smiths’ distinctive musical style involves their sound and, in particular, their sound as represented on studio recordings. D…[Read more]

In this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used i…[Read more]

Musico-analytical examination of Frank Ocean’s album Blonde and the lyrical references and musical allusions to a marijuana high.

Historical, analytical, and critical overview of John Zorn’s celebrated file-card composition, Cobra.

For Arnold Schoenberg, presentation (Darstellung) is an act of conscien- tious composition by which the formal/functional properties of motives and Gestalten, along with any possible development or variation, are real- ized in the creation of a coherent musical artwork. Presentation, then, is the manner by which a musical idea (Gedanke) is made…[Read more]

Book-length examination of the musical, artistic, and aesthetic practices of the American experimental composer and saxophonist, John Zorn.

The Smiths are one of the most commercially successful and in uential bands to emerge from the British post-punk movement in the 1980s. Along with elements such as lyrics, harmony, and musical form, a key component of The Smiths’ distinctive musical style involves their sound and, in particular, their sound as represented on studio recordings. D…[Read more]

In this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used i…[Read more]

Most previous writings on musical exoticism reflect the unspoken assumption that a work is perceived by the listener as exotic only if it incorporates distinctively foreign or otherwise highly unusual elements of musical style. This “Exotic Style Only” Paradigm often proves revelatory, especially for purely instrumental works. In operas and oth…[Read more]

Most previous writings on musical exoticism reflect the unspoken assumption that a work is perceived by the listener as exotic only if it incorporates distinctively foreign or otherwise highly unusual elements of musical style. This “Exotic Style Only” Paradigm often proves revelatory, especially for purely instrumental works. In operas and oth…[Read more]

Most previous writings on musical exoticism reflect the unspoken assumption that a work is perceived by the listener as exotic only if it incorporates distinctively foreign or otherwise highly unusual elements of musical style. This “Exotic Style Only” Paradigm often proves revelatory, especially for purely instrumental works. In operas and oth…[Read more]

My sonic work “City Noise” proposes both an artistic and a theoretical approach to the city-sound relationship. The default assumption about this relationship is that sounds reflect a one-to-one relationship between soundscape and landscape, both drawing upon and revealing the physical and social landscapes from which they originate. However, the…[Read more]

My sonic work “City Noise” proposes both an artistic and a theoretical approach to the city-sound relationship. The default assumption about this relationship is that sounds reflect a one-to-one relationship between soundscape and landscape, both drawing upon and revealing the physical and social landscapes from which they originate. However, the…[Read more]

Illustration as part of art works has often been considered a form of low art, but as it has progressively become more developed, it has established a decent place in the art community. Through this paper, the authors have tried to apply a primarily participatory research method, including participant observation, deep interview, and literature…[Read more]

Illustration as part of art works has often been considered a form of low art, but as it has progressively become more developed, it has established a decent place in the art community. Through this paper, the authors have tried to apply a primarily participatory research method, including participant observation, deep interview, and literature…[Read more]

An introduction to music appreciation and history that emphasizes the political, cultural, and social influences on music from antiquity to the 20th century. Contents include sacred and secular, vocal and instrumental, and folk and art music from across the Western world, including modern popular song. No previous musical experience necessary. All…[Read more]

In The Burns Antiphoner – From manuscript to interactive resource, Anna Kijas reports on a new project based around a 14th-century source, the Burns Antiphoner. In this project they focus on integrating and delivering images, metadata, and recorded audio and video to provide an in-depth look at the contents and experience of this particular s…[Read more]

In 1984 I published a chapter on the art song, simply entitled “Song,” in my first book, Music and Poetry: The Nineteenth Century and After (University of California Press). The chapter aimed to replace the traditional understanding of song as a harmonious fusion of words and music. The chapter has had a fortunate reception, but as time has run…[Read more]