MEGAN KAES LONG is Assistant Professor of Music Theory at Oberlin College Conservatory of Music. Her research focuses on the intersections of modal and tonal theory and practice in the sixteenth and seventeenth centuries. Her cur- rent book project, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century considers the contributions of meter, phrase structure, and form to the articulation of tonal trajectories in homophonic partsongs. She earned her Ph.D. from Yale in 2014. WILLIAM E. CAPLIN is James McGill Professor of Music HENRY MARTIN is Professor of Music at Rutgers University– Theory at the Schulich School of Music, McGill University, Newark and a composer and music theorist. He is founder and specializing in the theory of musical form and the history of former chair of the Interest Group in Jazz Theory of the harmonic and rhythmic theory in the modern era. His book Society for Music Theory. Among his books are Charlie Parker Classical Form: A Theory of Formal Functions for the and Thematic Improvisation and Counterpoint (both Scarecrow Instrumental Music of Haydn, Mozart, and Beethoven (Oxford, Press). He is currently writing a book about Charlie Parker as 1998) won the 1999 Wallace Berry Book Award from the composer and ﬁnishing a complete cycle of preludes and Society for Music Theory. He is a former president of the fugues for organ. SMT and in 2015 was elected a Fellow of the Royal Society of Canada. HAMISH ROBB is Lecturer in Music Studies (equivalent to Assistant Professor) at the New Zealand School of Music, GUY CAPUZZO is Professor of Music at the University of Victoria University of Wellington. He is a music theorist, North Carolina at Greensboro. He is the author of Elliott musicologist, and performing pianist, and has published on Carter’s What Next?: Communication, Cooperation, and musical embodiment and dance-music relationships. Separation (University of Rochester Press, 2012) and is active as a performing guitarist. JOHN ROEDER is a Professor at the University of British Columbia School of Music, specializing in theories of rhythm GILAD COHEN is an active composer, performer, and theorist and transformations, and in the analysis of recent art music in various genres including concert music, rock, and music for and world music. With Michael Tenzer he edited Analytical theatre. His music has won international competitions, has and Cross-Cultural Studies in World Music (Oxford, 2011) and been commissioned by Barlow Endowment, ASCAP, and an analytical exploration of the Balinese gamelan composition Concert Artists Guild among others, and was released by Gabor (this journal, 2012). Albany Records, Naxos/Delos, and Navona Records. An Assistant Professor of Music at Ramapo College of New MIGUEL A. ROIG-FRANCOLI is Distinguished Teaching Jersey, Gilad holds a Ph.D. in composition from Princeton Professor of Music Theory and Composition at the University University, where he produced the ﬁrst-ever academic confer- of Cincinnati. He is recognized internationally for his work as ence about Pink Floyd in 2014. a music theorist, composer, and pedagogue. He is the author of Harmony in Context and Understanding Post-Tonal Music, JONATHAN DUNSBY is Professor of Music Theory at the as well as over twenty articles published in leading scholarly Eastman School of Music. Among his books are Performing journals in the USA, Europe, and South-America. Winner of Music: Shared Concerns (Oxford University Press, 1995) and the 2016 American Prize in Composition (band/wind ensem- Making Words Sing: Studies in Nineteenth and Twentieth ble division), his compositions have been widely performed in Century Song (Cambridge University Press, 2004). He is Life Spain, England, Germany, France, Italy, Switzerland, Greece, President of the Society for Music Analysis and for four years Brazil, Colombia, Mexico, Canada, and the U.S. was President of the Music Theory Society of New York State. STEVEN VANDE MOORTELE is Associate Professor of Music MARK R. H. GOTHAM is a music theorist based at the Theory at the University of Toronto. His research interests are University of Cambridge, UK where he is an Afﬁliated theories of musical form, the analysis of large-scale instrumen- Lecturer in the Faculty of Music and holds several college tal forms from the late eighteenth to the early twentieth cen- positions. He graduated from Oxford at the top of his cohort tury, and the music of Wagner and Schoenberg. Publications (Gibbs prize); from the RNCM with a masters in composi- include Two-Dimensional Sonata Form (Leuven, 2009), tion; and from Cambridge with a Ph.D. in music theory. He Formal Functions in Perspective (Rochester, 2015), and The has published in music theory, analysis, and computational Romantic Overture and Musical Form from Rossini to Wagner musicology, and recently founded the social enterprise (Cambridge, 2017). fourscoreandmore.org. Downloaded from https://academic.oup.com/mts/article-abstract/40/1/178/5006480 by Ed 'DeepDyve' Gillespie user on 20 June 2018
Music Theory Spectrum – Oxford University Press
Published: May 26, 2018
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