Drummers in Crisis: The Rise of Metronomic Regularity in Popular Music, 1965-2020
Paper co-authored with Ralf von Appen presented June 27, 2023, at the International Association for the Study of Popular Music International Conference in Minneapolis, Minnesota; also presented April 14, 2023, at the “On the drums: Métamorphoses de la batterie” conference in Strasbourg, France.
Bridging the Blues: Hybrid Forms in the Blues, 1925-1965
Paper presented November 11, 2022, at the Society for Music Theory annual meeting in New Orleans.
Measuring the Myth: Tempo and (Micro-)Timing in the Music of the Rolling Stones
Paper co-authored with Ralf von Appen presented May 2022 at the International Association for the Study of Popular Music (IASPM-US) conference at the University of Michigan; also presented in September 2022 at the 2022 International Drum Kit Studies Conference at Boston University; also presented October 21, 2022, at the joint meeting of the two German-speaking popular music studies organizations (IASPM D-A-CH and GfPM) in Vienna, Austria; also presented at the Rhythm in Music Since 1900 conference at McGill University in Montreal, Canada September 23, 2023.
Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963-1971
11,500-word article published December 30, 2021, in Music Theory Online, the online journal of the Society for Music Theory (article available at https://www.mtosmt.org/issues/mto.21.27.4/toc.27.4.html). The article, published in volume 27, number 4, addressed the Rolling Stones’ use of AABA form between 1964-1971 and its relation to defaults of the time, using corpus research to apply James Hepokoski and Warren Darcy’s theory of dialogic form to popular music repertoire. The paper also critically analyzed the ways that the Rolling Stones attempted to achieve authenticity by connecting with blues and soul music performed primarily by Black musicians and distancing themselves from the traditions of Tin Pan Alley and the Brill Building.
“It’s Just Too Much”: Hypervirtuosity and Genre in the Music of Conlon Nancarrow, Art Tatum, and Black MIDI
Paper presented In June 2019 at Genre Lines, a new music weekend summit within the 2019 Nief-Norf Summer Festival at the University of Tennessee.
Abstract
“Quite Vaudeville in a Way”: The Rolling Stones’ Selective Appropriation of a Declining Form
Paper presented at the February 2017 conference of the U.S. branch of the International Association for the Study of Popular Music (IASPM-US) in Cleveland, Ohio, at the April 2017 Pacific Northwest Regional Conference of The College Music Society in Vancouver, British Columbia, and at the 2017 National Conference of The College Music Society in San Antonio, Texas, in October 2017.
“The Connection Between New and Old”: Rhythmic Process in Late Webern, Late Stravinsky, and Their Predecessors
Dissertation on the use of isorhythm and canon in late Webern and late Stravinsky and on these composers' relationships to Machaut, Dunstaple, and Isaac.