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]

Between the end of May and the beginning of June, 2020, we performed individually, filmed, synced together, edited and presented a quarantine version of John Cage’s Cartridge Music. Uploaded on YouTube, the performance was broadcast on 1 June, as part of the 4th Research Colloquium of the Postgraduate Programme in Music of the Federal University o…[Read more]

Picture a world with no mobility. Planes are landed. Urban transportation stopped. Large gatherings are non-existent and everybody is at home. That’s 2020, today. Most countries have reduced social interactions to a minimum. Food markets, drugstores and gas stations remain open. But shopping malls, cinemas, coffee shops and pubs have closed t…[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]

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]

In 1970, a television-show dance contest in a small California town ended abruptly when the studio was briefly plunged into darkness because of an apparent power failure. The media coverage of the event eventually helped uncover criminal activity at the studio; over the course of this reporting, the narrative was accompanied by select genres of…[Read more]

Review of _Analyzing Schubert_ by Suzannah Clark. Cambridge: Cambridge University Press, 2011. x, 290 pp. ISBN: 978-0-521-84867-1.

This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4–5 melodic string, while stage two releases to the tonic using a ♮4–3 string. The schema sheds light on many aspects of galant music-m…[Read more]