Dance music is a medium and social practice that has in some cases functioned as a site of refuge for people and communities whom mainstream society marks “deviant” or “uncivilized. Foundational movements in dance music emerge from particular spaces and times where communities are able to center bodies and practices that subvert or contradict…[Read more]

(First paragraph): “Any DJ could tell you that you don’t know what music really means until you see it in people’s bodies. A DJ establishes a relationship between audio recordings and the crowd, responding to the speed and intensity of their movements, the symbolism of physical attitudes and gestures, their vocalizations, and the simple pre…[Read more]

Reich’s Violin Phase has been mired in questions of time since its inception. In this article I present a theory of time in process music based on the notion of kinesthetic knowledge, and the synthesis of musical temporality through the generative (chronopoietic) and transformational (chronopraxial) acts of the body. I illustrate this theory w…[Read more]

This research investigates the practice of resounding the archival material of voice, when translating the sound object from analogue to digital. The author is focussing on the voice as spoken word, when the archival voice has been temporarily overlooked but preserved. Since technological progress allowed us to record, we have been accumulating…[Read more]

Review of The Bloomsbury Handbook of Popular Music Video Analysis.

A number of recent music videos by women subvert the male gaze (Mulvey) through a number of techniques I construe as “resistance gazes.” These videos subvert the hypersexualization, infantilization, objectification, and victimi- zation regularly seen in music videos using imagery that resonates with broader cultural movements such as #metoo and #timesup.

In this chapter, I make two interconnected observations. I first consider how musicals inhabit and promote a ‘post-truth’ worldview similar to those reflected in current populist resurgences throughout the West. I argue that it is musical theater’s penchant for the unreal that in recent decades has given it traction within both secular,…[Read more]

The project ‘The Sculptor Speaks’ takes its source from a 1961 tape by British sculptor Barbara Hepworth. Unearthed at the British Library, the tape’s initial purpose was for a pre-recorded talk with slides for the British Council. Every recording is a priori an archival object, which can potentially resound anew through a contemporary carrier, p…[Read more]

Article on Wagner’s 1847 arrangement of Gluck’s _Iphigénie en Aulide_; adapted from, and may be read in conjunction with, Chapter 3 of Jeremy Coleman, _Richard Wagner in Paris: Translation, Identity, Modernity_ (The Boydell Press, 2019).

In this talk, presented at the Plenary Session of the 2020 Annual Meeting of the Society for Music Theory, I examine the relationship between time, embodiment, and affectivity in music. I argue that music is temporal not because it unfolds in time, or because it takes time as its vector, or even because it has the capacity to alter our sense of…[Read more]