theory/musicology

[NEW]: “Inventing a Musical Esperanto.” Harvard Horizons Symposium, April 2019.

I was appointed a Harvard Horizons Scholar at the Derek Bok Center for Teaching and Learning during my final year at Harvard University. This symposium followed a year of work with an interdisciplinary team on strategies for communicating my music-theoretical scholarship to a broad audience.

[UPCOMING]: Articles In Development

“Global Tonnetze.” [post-colonial reflections on 19th-century Western music theory within a broader global context]

“The Mysterious Kymographer.” [reflections on instruments for calculating complex wave forms, incorporating insights from media studies/histories of science, technology and society]


Book Chapters:

[forthcoming] “Science, Politics, and the Instruments of Tanaka Shōhei,” in Martin Kirnbauer, ed. Schola Cantorum Basiliensis Scripta. (Schwabe: 2020).

“Pitch vs. Timbre,” in Alexander Rehding and Emily Dolan (eds.), Oxford Handbook of Timbre (Oxford University Press, 2019).

“Daniele Barbaro, Nicola Vicentino, and Vitruvian Music Theory in Sixteenth-Century Italy,” in P. Caye, F. Lemerle. L. Moretti, V. Zara (eds.), Daniele Barbaro. Vénitien, patricien, humaniste (Brepols, 2018).

Translations:

[forthcoming] “Studies in the Field of Just Intonation” (1890) and “Historical Reflections on Intellectual Exchange between Japan and Foreign Countries” (1891), by Tanaka Shōhei. In J. Service, Tanaka Shōhei Reader (Bloomsbury, 2020).

Reviews:

"Expanding the Conversation: New Recordings of the Italian Baroque and Galant," Early Music 46:3 (August 2018)

“A Grand Tour of Historical Italian Keyboard Music,” Early Music 42 (2014): 141-143

“Sound and Scent in the Garden,” Journal of Landscape Architecture 42 (2014): 12-13


Invited Talks:

“Inventing a Musical Esperanto.” Harvard Horizons Symposium. Harvard University, April 2019.

“Sound Atoms and Mother’s Milk: Johanna Kinkel’s Emancipatory Vision of Music Theory.” Hartt Music Theory Colloquium Series. Hartt School of Music, November 2018.

“What will the Future Sound Like?” Parsons Festival/NYCxDESIGN Week, Strategic Design Conference: Design x Convergence Round Table. Parsons School of Design, May 2018.

“A Music ‘Freed from Artificial Temperament’: The Science and Politics Of Tanaka Shōhei’s Just-Intonation Instruments." The Keyboard as a Musical Interface: Materiality, Experience, Cognition, Idiom. Deutsches Museum (Munich), January 2018.

Lecture-Recitals (by invitation):

"The Enharmonium and Tanaka Shōhei [純正調オルガンと田中正平]." With Dr. Tanaka Tasuku. Kunitachi College of Music (Tokyo), September 2018.

“A Music ‘Freed from Artificial Temperament': The Science and Politics behind Tanaka Shōhei's Just Intonation Instrument.” Studio31 Symposium. Schola Cantorum (Basel), November 2017.

“Decoding Tristan Perich’s Dual Synthesis.” Keyboard Networks Conference. Cornell University, March 2016.

Workshops/Collaborative Forums:

Tanaka Shōhei Translation Project Workshop. Wadham College, Oxford University, March 2018.

[Preparation of translations of theoretical texts of Tanaka Shōhei. Featured scholars from Japan, UK, US, GE, and DK in Japanese Studies, global history, politics, and music theory.]

Acoustic Justice: Workshop on Law and Music at the Program on Science, Technology and Society. Harvard University, Kennedy School of Government, December 2017.

[Focused on the intersections of international law, sound, and listening. Featured scholars of law, music, Classics, and history of science.]

Transnational Musical Modernities. Observatorio Instituto Cervantes (Cambridge, MA).

[Group discussions featuring scholars of musicology, ethnomusicology, theory, and Latin American studies.]

Conference Talks:

"Alexander John Ellis: Pitch Fundamentalist." American Musicological Society Annual Meeting. San Antonio, November 2018.

“The Root Cause of Musical Disease: KB Deval, Just-Intonation Research, and the Politics of Early Twentieth-Century Musical Studies in India.” Society for Ethnomusicology Annual Meeting. Denver, October 2017.

“Looking For the Origins of Tuning and Temperament in Early Modern Italy.” Villa I Tatti, Center for Italian Renaissance Studies (Florence), November 2016.

“Emancipating Microtones: Nineteenth-Century Experiments with 53-Tone Equal Temperament.” American Musicological Society Annual Conference, Vancouver, November 2016. [On co-organized joint panel “Comparing Notes: Just Intonation, Japan, and the Origins of Musical Disciplines.”]

“Music, Nature, and Power in the Gardens of the Villa d'Este.” Renaissance Society of America Annual Conference. Boston, April 2016.

“Schoenberg's Typewriter: The Notenschreibmaschine and Musical Composition,” American Musicological Society Annual Meeting. Louisville, November 2015.

“An ‘Ideal’ Music: Hugo Riemann and Nineteenth Century Experiments in Enharmonic Keyboard Design.” Society for Music Theory Annual Conference. St. Louis, October 2015.

Musica Prisca Caput: Vitruvian Music Theory and Enharmonicism in 16th-Century Italy,” Society for Classical Studies Annual Conference. New Orleans, January 2015.

Musica Prisca Caput: Vitruvian Music Theory and Enharmonicism in 16th-Century Italy.” Society for Music Theory Annual Conference. Madison, November 2014.

“Charting Boethius: Music and the Diagrammatic Tree in the Cambridge University Library De institutione arithmetica, Ms. Ii.III.12.” Revisiting the Legacy of Boethius in the Middle Ages. Harvard University, March 2014.

“Music and Alchemy in the Garden of the Villa Pratolino.” Visual Arts and Music in Renaissance Europe c.1400-1650, Second Annual Postgraduate Renaissance Symposium. Courtauld Institute of Art (London), January 2014.

“Barbaro’s Della Musica and the Mechanics of Vitruvian Music Theory and Practice.” Barbaro 500: Architecture/musique/peinture/perspective. Centre d’Études de la Supérieures Renaissance (Tours), November 2013.

Musica Prisca Caput – The Theory and Repertoire of Experimental Keyboards With More Than 12 Keys Per Octave,” 2nd International Conference on Historical Keyboard Music. Edinburgh, July 2013.

“Vitruvius and His Maiores: The Legacy of Music Theory and Magna Graecia on Architecture.” VI Meeting of the MOISA International Society for the Study of Greek and Roman Music. Agrigento, May 2013.


Group for Latin American Musics [GLAM] (b. 2016)

For the past three years, I have worked with Julio Zúñiga (composer) and Felipe Ledesma-Núñez (musicologist) in arranging recitals, workshops, academic seminars, and masterclasses that promote Latin American experimental and popular musics. Our goal is to complement musical studies at Harvard while also serving the broader Boston/Cambridge/Somerville community. Past projects have featured Maria Chavez (sound artist/abstract turntablist), Julio Estrada (composer), and Mesías Maiguashca (composer) with musicians from Fonema Consort and TAK. Our events have been held at Paine Hall, Holden Chapel, and the Harvard Ed Portal, and have been supported by ARTS@DRCLAS, Instituto Cervantes, and the Harvard Music Department.